Dilek Karaaziz Sener
Nihat Kemankaşlı’s new exhibition “The Background” opens on December 19 at Ankara Siyah / Beyaz Art Gallery. The exhibition adds an innovation to the “peinture identity” that we are used to until today: Sculptures. This new adventure can be interpreted as a “form / body”, carving or adding-on work for the artist. It seems that Kemankaşlı has modeled and shaped a hard material (metal) with the elements that accompany the figures on the surface of the background. We can say that the elements on the background of the figures, which meet the viewer with a constantly questioning gaze, with their giant dimensions on the canvas, become more visible with their three-dimensional form. I should mention that in the act of carrying figures and objects into the space, the artist has a desire to make life more visible. Each object chosen consciously from life in the paintings now takes the adventure of existence to a new dimension together with the sculptures. At this point, it is necessary to take a closer look at the bottom lines of the exhibition in order to develop a reading method for the artist’s paintings and sculptures.
First of all, painting on metal sculptures, since 2000, “why sculpture?” The question is obviously asked by the audience. Let’s think like this: if you were in the identity of an artist as a viewer and your problem was to place a serious gaile at the base of your painting, just like asking for “observing the traces of life and vital accumulations”, your answer is just like Kemankaşlı said; “why not?!” would be. I am sure of that! Yes, why not a statue ?!
Focusing on the place of objects and beings in our lives ultimately allows them to retreat from the background and become more visible. As the objects grow, their meaning in life becomes visible. There is an important meaning for Kemankaşlı in the concept of “visibility”. He is freed from the crowd with his own identity, and he says to the audience, “I am here!” We come across with the courage to bring together sculptures and paintings that can say and re-create themselves with each of their forms together, in the same space. It focuses on the importance of objects and beings in our lives. Figures and objects should be as clear and simple as possible, away from the crowd. Every life-related formation that does not disappear in the living space is not abstract. In his expression, it manifested itself in abstraction. Everything expressed on the canvas took place in isolation. We clearly know that: “Technique” is a phenomenon that he does not care about at all… Each time, he came up with his choice of “weak technique”, away from “strong technique”, the artist. The reason was the child’s expression inside, which he could not put the energy of painting into …
Do you need “aesthetic references”? Such an approach would be an easy orientation in the course of writing. However, some clues should be sought. Because the clear and distinct references that Kemankaşlı always emphasizes in his paintings coincide with his literary discourse that he tries to create his own language. Clear attitude towards form and emotion: the penture that speaks its word with its own identity! Apart from color – which is included in the composition as quite striking and large surfaces – it creates surfaces that are free from all kinds of details and complexity, where simplicity comes to the fore and is defended. The same is true for sculptures. Attention is drawn to the only property of the object as an object. With color, the “awareness” state that is the basis of this understanding becomes evident. Geometric elements processed from metal are composited to form a certain form. Thus, just like in his paintings, he developed the concept of aesthetic form, in which simplicity is in question and the determining and striking states of color are adopted in this manner. In short, neither the story nor the indirect, complex, complicated and transparent stance of a “minimal” understanding, which is far from the narrative style that is thoroughly intertwined with all these, is displayed.
It can be seen that the artist does not deviate from the path he has followed in his paintings for years, also in painting on metal. The difference is that this time, placing the objects directly in our living space, making them visible, provides a different opportunity to read the questions / problems of art and life in the space, more precisely on a different front. Objects that are deformed on a two-dimensional surface should now show us the background (The Backgroud) … They should take up space in the “real” living spaces after the surface, that is, in space, and transform their touch and livable appearance into an unreality that can never be reached and used.
Perhaps the “unreal” confronts the “real”!
We can say that the object moves away from the surface and interprets itself in three dimensions with color and shape. The effort to show the “unreal” in its most natural way by entering directly into “real life” and taking a place here…
As a loyal viewer who follows his exhibitions until today, I deduce that rather than categorizing the language of painting, it is the necessity to go out to discover the artist, knowing that each element he uses on the surface concentrates on “crises of life”. Because “what, how?” Rather than traditional categories such as “abstract,” abstraction, or “figure”. In order to reach life again, we understand the artist’s “what, how?” I guess it’s more important to be able to decrypt what you’re using! At this stage, a question may come to mind: “Is it the meaning sought in Nihat Kemankaşlı’s painting?” All the objects of life he uses are a tool for him to move to the dimension of thought he wants to reach, to visualize. Turgay Kantürk rightly speaks of the artist trying to create “his own figurative understanding”. Thus, it frees itself from the “decorative clamp”. He achieves his originality through his macro objects by drawing a portrait of an artist who is privileged and who can clearly express his thoughts.
It takes thinking beyond the framed meanings. Liberates. Leaves free. Every object in the painting uses its own decision-making ability! Objects cannot be controlled! Cannot be prevented! Because all of them are actually the liberation area of the surface in the process that seems to be routine in the life of the painter, stuck between birth and death. Without being bound by any restriction, coercion or behavior, they are a deal of reckoning with their own self-righteousness. For this reason, it pulls out objects from nature, sometimes as a whole, and sometimes in order to analyze them. It is possible to say that he thinks that he examines each object on a macro level on the canvas, and that he brings nature and our life materials to his painting.
Undoubtedly, all these things are the general problem and attitude of the artist, but they are inevitable influences for the painting. I think it is necessary to write the same words for the sculptures here. The major aspects of the role played by Kemankaşlı in the demand of nature, life and every equipment surrounding us …
Nihat Kemankaşlı’s paintings, along with his sculptures, watching us on the walls are presented as a selection of works with the concept of “Balcony” “Bedroom” and “Neighborhood”.
Nihat Kemankaşlı “The Backgroud” Painting-Sculpture Exhibition
Gallery Siyah Beyaz / Ankara
(19 December 2014 – 12 January 2015)
“Airplane” 2 m. the wingspan is again 150 cm. painted in color like the plane I sent in the pictures. It will be mounted on the wall. The seats are again 170 cm high and the bike is 235 cm colored at the painting stage. The “Boat” you see in the photos is at the painting stage. Sculptures Used paint on metal