conceptual characteristics of creative action
MUMTAZ SAGLAM
“This painting is also based on infinite silence of the only element it possesses. However, this state of silence leads the internal setting to a chaotic tension as an enticing dynamic. For example, the order of beings playing in this setting wanders alone in space. We somehow live together the tension that leads to the imagination of the image of which we are made deprived and to which we are made confined. We need to say that this influence we share is the element that makes the form a being and also that makes it real. As a matter of fact, the knowledge and pre-confirmation that the image that both stands with all its vagueness and is suddenly drifted towards space is the only object of spatial design seem to be the major condition that encourages our efforts to read.
In these paintings, image in space and lonely. This bio-politic object produced in space is basically an imagination directed by the energy kept inside. It modifies what is subjective; it look absolute, lonely and mysterious. It reveals an extraordinary subject-object relation in its own idealism. Or it refers to bias of weird and strange relations that constitute itself through increasing marginalization. Therefore, it is essential to consider the determination that centralizes this image. An object is thematized which seems to play with the inner elements of the soul by contextualizing itself in a quiet desolated and obscure place. We are expected to think about the enticing and distractor function with its new and different expansion of aesthetics by using an object that seems to be related to fears and passions that continuously create a distance.
As we often emphasized, this painting practice which determines the formal characteristic using convolutions and layers is actually in the act of a systematic postponing that deepens what is subjective and sensual. It expands its borders by heading towards a dark direction with an imagination that seems mysterious, weird, and pessimistic and determines its density according to cause-effect relation or that of stimulus-response. Fiction that corresponds more to abstract and conceptual concepts postpones the dimensions of history and time through relative personalization and draws it to vague areas. A sensual reality, therefore, emerges with an attitude formed by direct gestures in all its plainness.
This painting is also based on infinite silence of the only element it possesses. However, this state of silence leads the internal setting to a chaotic tension as an enticing dynamic. For example, the order of beings playing in this setting wanders alone in space. We somehow live together the tension that leads to the imagination of the image of which we are made deprived and to which we are made confined. We need to say that this influence we share is the element that makes the form a being and also that makes it real. As a matter of fact, the knowledge and pre-confirmation that the image that both stands with all its vagueness and is suddenly drifted towards space is the only object of spatial design seem to be the major condition that encourages our efforts to read. Thanks to this, we begin to evaluate the objective structure with its sensual aspect and the logic of existence. The discussion of what could be the freeing and challenging elements may create a context for itself in the area that exceeds its borders of the continually lived experiences. The attitude towards the painting on this floor will seem to be in a derogatory location that could cancel its meaning links in the context of interference with language in the discussion of possibilities focused particularly on language. Language, in this context, refers to a complementary self-control that rejects and establishes form-meaning relation that is attributed to subjectivity.
At this point, we are faced by a symbolizing approach with a conscious preference in the context of both visual and verbal language use. This imagination in contrast to the conceptual grounds reaches its ultimate state in line with an internal inspection that sets up its own integrity. The structure that the form possesses does not allow much for independent associations beyond texture and layers, convolutions, functions that complement the form. The simultaneous interaction of all these elements, its directness, and its swift and decisive determination seem to function as an indicator of an icon system. The composition is completed once it has addressed the demands of the lyric perceptions on intellectual grounds in a system created by typological repetitions without damaging all this relational network
This structure constructed with similar creative attempts include subject elements of life which seems to pass outside. The internal density of the undefinable form can be understood with the view that keeps the residue covering the painting with its outlook. A surreal dimension that includes the surplus and ashes on the social and cultural level of life is added to this encompassing which make so-called body description possible. In the paintings, with concave movements directed onto varying points, the degree of the capacity of suppression is shown. The construction of bodily organism is completed with gentle emphasis that makes the visual anesthetized and reduces it to a level of sign.
In this context, the experience we face is in struggle to add to itself the rather complex, intensive and deep energetic integrity. This structure whose walls change each time keeps many things inside with an organic labyrinth mystery. It has an abstract and conceptual density that rejects the references it gained here as opposed to the neutrality similar to the abstract spot typology. Hence it is noteworthy for the knowledge and experience aimed to construct image/form in a decisive manner to turn into clusters of large structures. Moreover, that the members of the cluster consists of elements that cancel or violate methods of normal formation forces us to think about the conceptual quality of this action.
See: Mümtaz Sağlam, Gülay Yaşayanlar / Imagination and Distance, Translation: Kenan Dikilitaş, Print: Mas Matbaası, September 2015, Istanbul.
see: https://saglamart.com/gulay-yasayanlar-a-queer-imagination-that-rids-the-structure-of
