Nihat Kemankaşlı, who boldly uses colors, has an ironic attitude that we frequently encounter in perspective and paintings, sculpted his paintings for the first time in the new exhibition “The Background” and added a new dimension to them. From 19.12.2014 to 12.01.2014, Sin meets the audience.
I expressed the creation process by saying “I concentrated on the importance of the place of the object and the assets in our lives”. “Work” and “object” give important clues in following the relationship. The close proximity to the actual dimensions of the figures and figures and objects leads to ‘reality’ by removing the indirect impressions between these two concepts, with the colors, the lack of light, and the sharpness in the lines. At this point it is possible to make a reading from Martin Heidegger. Heidegger, “The object concept is not an intensification of the object, but as directly as possible, it is the experiment of bringing the object closer to ourselves. As long as we carry what we perceive in our senses as objectivity, the object will not reach a position. For that reason he should be left in his stay. It must be adopted with its own endurance. “[I] The reality and sense of simplicity that we reach through objects and figures in Kemankaşlı’s paintings manifest themselves here. This interpretation of Heidegger tells us that the world in which the object exists must be expressed and perceived by the projection. The worlds and meanings convey that they should not influence the object and distract us from the reality at the point.
An important aspect of the work of art is that it establishes a world and produces the earth. These are the main characteristics of the artifact, the existence of the artifact. Every work opens a world in itself and makes it permanent. The work means to build a world. The artist has been able to create a new world with the compositions he created, the space over the objects, the audience, and the relationship he established with himself.
An audience who first encountered these pictures unwittingly “simply” introduces himself to the picture with three levels of examination that deal with the art form in terms of form, subject, and comparison, with the method of “iconographic and iconological art criticism” and form the basis of today’s art history method. as I mentioned, that this method, which is not very valid, can be synchronized with Kemankaşlı’s paintings, the simple, clear and direct process in the artist’s paintings. Thus, the viewer creates a new space between work and himself. When talking about communication; we used them frequently in the pictures we made in our childhood. For that reason, internalization is easier to accept as an extension of a memory. This situation, where personal experience is important, also points to the conservative side of the viewer. As a matter of fact, Kenan Evren said that he did not like the paintings of Picasso he had seen in Beyazsaray during his trip to the US in the Presidency, “he said,” I even make the tables. ”
When we come to the year 2014, contemporary art is talking about methods of reaching the audience filled with minds. These methods are generally applied to the artist in conscious manner by the galleries during the installation. However, the person lives in tabularasa at the first meeting with the pictures of Kemankaşlı. That’s why instead of methods, the viewer’s own experience is revealed. This is also very suitable for the contemporary ‘not being sub-text’. “This relationship is evil, which has argued that the work has spent all of its experience on a fancy paper. The work is only good when it is a diamond-finished surface that is scraped from experience, without any limitations of the inner glow. In the first case, there is redundancy, there is an assertion of immortality. Secondly, the work is productive because the richness is expressed without being told the whole experience which is sensed. The problem for the artist is gaining ‘survival’ that exceeds ‘can not do’. In short, the great artist in this climate is a great survivor. “[Ii]
Therefore, Nihat Kemankaşlı’s paintings and paintings, which have been ‘livable’ for the first time together with the new exhibition “The Background”, are not a new phenomenon, but the contemporary space and event fiction that has been created by paintings has moved into our living spaces, . This interdisciplinary approach has been linked to, nurtured and followed by the artist’s past work. The naive nature of figurative imagery, the positive perception of color, and the pictures that can be interpreted as ‘childish’ in the form of using perspectives are basically based on a strong technique and idea.
Senem Çağla BİLGİN / 2014
[i] Heidegger, M., The Origin of the Artifact. Ankara 2007.
[ii] Camus, A., Sisifos. Istanbul 2012.