fiction drifting towards a conceptual basis
MUMTAZ SAGLAM
Gülay Yaşayanlar’s recent paintings, it is easy to notice the tendency to form a pattern. These sectional and layered surfaces deriving from a form of relation intellectually created by aesthetic foresights, external world observations, and temporal links imprison the energy she integrates through embedding and enclosing.
That which is insistently and determinedly made unidentified is a conceptualized form encompassing a visual text (energy). Here we are to indicate that we face humiliation subjected to this visual element which becomes organic and conceptual and that we are in a struggle for discovering the basis of the narration wandering in the psychic spaces emerging in an ironic context of humiliation.
For example, while the gender-based discourse created through indefinite references or fantastic modifications telling beings leading to panic defines this degenerated and strange aesthetic thing, it drives it to senselessness. Thus, a form here tends to remain hanged in a space by ensuring its internal space through its internal balances. Forms that stand hanged in a space with its continuing anonymity seems to be amassed in a blind area which is invisible for a human eye. An eye that looks from outside is unable to perceive this inner vision, essential accessories of this interpretation, and language level (as conceptualized by Paul de Mann). This is because, here, an inner vision for reader/audience who can distinguish expression from meaning. A coherence of meaning based on this potential energy and personal circumstance can be achieved considering references that enable the undentification and discovery of the inner vision through an implicit and deep perspectives, not by way of description of visuals. As a matter of fact, consistent repetition of equivalent forms adjacently sequenced emphasizes the differences regarding this preference. The images sequenced here are in quest that reflects and carries the consciousness of the artist by using a language targeted for emphasis of difference. The aim is to establish the characteristics of visual elements developing through the form and plastic values that complement the painting. The contradictory content and meaning deriving particularly from the logic of spot and order as well as from the patterns seem consistent as they gain a weird dimension. Therefore, the power, virtual darkness, and stillness of this description that allows for direct transformation of consciousness into visuals and that is hanged in space should be especially highlighted.
On the other hand, the issue of transformation of increasingly empowering of an image into a metaphor – freeing from contactlessness and description which does not refer to the external world – is one of the factors that makes this practice distinguished. As a matter of fact, the approach by which to create a formal design that refers to a density or a conceptual state draws the understanding of representation to a level that focuses, in the very beginning, on what does not exist. Therefore, there is no model or state that is narrated here. At another level, there is a process where the situational thing that is formed in the mind. A sentimental and cognitive inner experience that transforms it into an object is only lived
This structure diversified in an active continuity through repetition has an internal dynamic that sets it up, spoils it, deals with the image itself, and discusses the mass integrity more and more. Hence, a part of imagination that pioneers the thematic scope turns into distinctive compositions that investigate the levels of implications through the plastic language potentials and the issues of emptiness and involution-rotation and discusses the major emphasizes. In these works is hidden an element that contributes – through contradictory suggestions – to the solution to the language-meaning coherence which could be indicated by linguistic signals which are focused on the construction of the enticing or fragile content.
On the other hand, this approach that could be summarized as a quest of a partially intimidating expression looks like a declaration of strolling at the border of disagreements by producing passionate objects. In this word order that does not have any explicit references, an inner world order is constructed through metaphor; the imagination of a blind and vague area of a cancelled narrative integrity is felt sufficient. While language rejects its own narrative depth with its visual elements, it is driven to a conceptual surface, and it topicalizes the conditions of representation and the process for the discussion of possibilities. Here not only does the visual language become stylistic, but also its elements are rhetorically problematized. The linguistic transformation, its transitory state, its elements of criticism, the fictionality that does not lose the highlights carrying continuity and subjectivity characterize this visual presentation.
Hence, these patterned structures rolling or convolving each time reach a characteristic of an emerging form bent inwards through the energy thematically produced by the struggle for deconstruction. All that is rejected in the scope of the process feeds the thought of a quite strange structure. The visual that becomes the object of a robust, solid and closed fiction comes from the darkness (through a reference figuratively attributed) and is formed in space. The painting, with this tendency, is transformed into a continuously literalized text, a picto-graph; each form complements an estranging text by becoming words of that language.
To summarize, here the visual language seems to be based on the balance relation that can move towards the verbal side. There is self-control that expresses consciousness, but equally creates a fictional space for itself through forms that refer to indefiniteness though it directs itself to inevitable things beyond itself. This simultaneous fiction gives the painting a psychic dimension by creating a feeling of trepidation and a distance including the conceptual level. Thus, the psychic that complements the energy of the fiction with an aesthetic stance emerges as a result of a balance relation that looks pathological. The fiction makes the psychic continuous through the repetitions that accelerate the aesthetic experience and maintains the radical stance that repeats itself in the quest of determining the distance.here the visual language seems to be based on the balance relation that can move towards the verbal side. There is self-control that expresses consciousness, but equally creates a fictional space for itself through forms that refer to indefiniteness though it directs itself to inevitable things beyond itself. This simultaneous fiction gives the painting a psychic dimension by creating a feeling of trepidation and a distance including the conceptual level. Thus, the psychic that complements the energy of the fiction with an aesthetic stance emerges as a result of a balance relation that looks pathological. The fiction makes the psychic continuous through the repetitions that accelerate the aesthetic experience and maintains the radical stance that repeats itself in the quest of determining the distance.
See. Mümtaz Sağlam, Gülay Yaşayanlar / Imagination and Distance, Translation: Kenan Dikilitaş, Print: Mas Matbaası, September 2015, İstanbul.
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