bekir sami çimen: a different and unique space of expression which meets with lyrısm

MÜMTAZ SAĞLAM

The abstract constructions that make up Çimen’s setup, concerning the outher world, will lead to psychological meanings and remarks, from a distant range of perception. To some extent, this serene construction, takes us to a spiritual structure, that was formed by critical thinking. But however (being valid for all periods and approaches) it can be spoken for Çimen of dominance of a creative will, which is fed by the inner-world codes rather than objective impressions and observative outer-world referances which emerge over painting experience.

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Bekir Sami Çimen who has developed the basic character of his art life over a platform of abstract and schematic perception, has been in an approach which carries so called visual space as a dynamic design reality.  This visual space which has been constructed by the color strips over an abstract surface, became obvious during the period of art/design education in Berlin in early 1970’s shows that Çimen has been consistently involved with “painting-surface” discussion from the very beginning. 

With the latest works, artist is in the tendency towards discussing the dynamic effect of the varied color strips with an horizontal movement from left to right.  This rich visual effect, placed at the center focus or becoming the main plastic concern of the painting is in fact the reason for the endless series of experimental design… and each painting composition which is constructed with a great care and patience, as if perceptional unity, approaches to an absolute- abstract composition quality at the first stage.  It is obvious that, the spectator can only (and solely) approach to an interpretation through a canal related with the representational value of the colors used.  With the action referring to the logic, color may have a meaning as symbols of the outer world, whereas it is not sufficiant to explain Çimen’s paintings with a scene of the simple relation (such as blue being the symbol for sea or sky).  So therefore, instead of the idea of encountering the partial visual references associated with concreteness, or before switching the color into a direct narration, it is necessary to approach the painting with a distant observation and with a questioning approaching more to the conceptual psychology. 

When we think again (by understanding the plastic quality of the language used);  by the abstact previsioned construction of Çimen, it is easy to observe that a system to balance is obtained by the rare vertical lines developed against the horizantal intensity.  Here, it should be specially mentioned that the vertical movement which interferes with the intense spot effect and massive creation is being expressed by several minimal, clear and straight lines.  And this effort of balance which is based over contradiction, completes the dynamic character of the design.  It is not wrong to state that the “vibrating and degraded color spaces” which emerges by the meeting and contradiction of this systematicised establishment, gradually provides an “impression of measured spontenousity” and drags the painting into a lyric space.

On the other hand, the color system and strip packs which are loaded with  representative tasks by minimizing the “nature-human” relations; creates the basis for the expression of the point of view formed by the different design concerns.  In this context, the expression which keeps concentrating over the “color” matter, begins to have the power to designate the construction of the content…  Contrary to  the abstract construction which qualifies the painting totally, the painting is able to reach the outer world (the dynamism of the daily life, the urban tissue or the polluted environment, etc.) through so called preferred color representations, giving the feeling of facing the cooperation and order which is necessary for the typical landscape setup.  This new mid-layers and surfaces varying through the transparent and translucent relations of color strips placed side by side and over each other, with an overlapping language, has even shaped a perspective which reminds the depth, special to landscape perception. 

Thus at first stage, the abstract constructions that make up Çimen’s setup, concerning the outher world, will lead to psychological meanings and remarks, from a distant range of perception.  To some extent, this serene construction, takes us to a spiritual structure, that was formed by critical thinking.  But however  (being valid for all periods and approaches) it can be spoken for Çimen of dominance of a creative will, which is fed by the inner-world codes rather than objective impressions and observative outer-world referances which emerge over painting experience.

To give an example: above mentioned point of view, brings up the concept of space as one of the principal problems  in Çimens paintings . Especially large areas, created on the surface of paintings, express a concept of space to be perceived immediately as formed . These large areas, contrasting  balancing the concentrated and dynamic  color areas, seem to be related to the concept of space.  Here, scarcely colored – textural structure that materializes the concept of space,  is of primary importance.  During the process of visual expression of the concept of space, Çimen, seems to be concerned with the current problems of contemporary geometrical and abstract painting. In fact, these variations of perception, along with the eastern civilizations from which it gets its dynamics, create a distinct and original field expression.  The distinction in Bekir Sami Çimen’s accents, is in the vibrations emerging from the selection and interrelation of the colors.  Eventually,  a spritual dimension, perceiving  “flowing time” as a  case of continuity,  encircles the painting. Meanwhile the rational formation meets its conflicting spiritual values scale.

These time records, side by side  and/or overlapping  almost from left to right, and in a horizontal axis;  produce sterile and clear manifestations, tied up by color abstract plane. Because, in these paintings, everything is as much as necessary. And here,  art (painting) is not based on absolute presentation of emotion/enthusiasm.  We hereby witness an attitude of art that is rarely seen in this scale in Turkish painting, that is calm and internalizing its dynamism, and transforming thoughts into  visual language.

Bekir Sami Çimen, conceiving  painting as a “design fact”, persistently argues for his contemporary perception of  sensitive painting practice and aesthetics, using the abstract-schematic language he has developed and applied.

(Izmir, January 2008)

Translated by Ayşegül Kurtel

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see: https://saglamart.com/bekir-sami-cimen-lirizmle-bulusan-ozgun-bir-soylem