Gülay Yaşayanlar’s painting, the idea of establishing an imaginative structure composed of adjacent and simultaneous layers and plasticity determining its own area moving away from its centre. This structure telescopically forming with the short and reciprocal orbital movements is drawn to a psychic level with a process by which simultaneous plans are joined. Hence the process of comprehension is embodied by moving away from the subject with an intermediary. We now know that the thing that turns into an object is an experimental concept addressing the dilemmas questioning representation conditions regarding self-identification.
Focusing on structural layers of pure form means actually thinking about the universal meaning of the painting. The purity that determines the pure form is a case that directly presents the painting itself and the consciousness remaining hidden. The visual whole created is the very real result of the relational form agreeing with the consciousness. And therefore the painting thematizing primarily pure form and its own existence is constructed suddenly.
In Gülay Yaşayanlar’s painting, the idea of establishing an imaginative structure composed of adjacent and simultaneous layers and plasticity determining its own area moving away from its centre. This structure telescopically forming with the short and reciprocal orbital movements is drawn to a psychic level with a process by which simultaneous plans are joined. Hence the process of comprehension is embodied by moving away from the subject with an intermediary. We now know that the thing that turns into an object is an experimental concept addressing the dilemmas questioning representation conditions regarding self-identification. However, it is inevitable to mention the lyrism that modifies this production leaving the subject and becoming independent. Protected since the beginning, the tense relation that forms vague darkness and depth gains immanence in the context of lyric relation. The internal contrasts turning into patterns, sentimental layers and rough configuration design the immanence through a direct flow. It becomes a unique example in which thoughts and feelings are compacted and condensed. It is a thing that is embodied with a solid and ideational and relatively visual solidity and intensity, which lost its format.
We are faced with productions of a strategic reduction that addresses its expectations by maintaining its distance with the artist as much as with its sensitive elements. The reification experience that includes alienated interferences and that offers implicit associations with the existence of similar patterns can mask all the definitions we know and comprehend if it desires. What makes the emerging form unique is that it has a configuration of pattern that suddenly reflects it as a subjective emphasis. This discourse developing on a prototype that points to periodic contrasts turns into a metaphor regarding psychic realities through the lyric contextualization. Instead of undertaking a critical content, it lolls against a formal quality by touching slightly on a narrative approach. In fact, these paintings aim to gain a historical value in the frame of a plasticity language and identity that clarifies via patterns the understandings of direct forming which the artists seeks for. The vague modifications that have become abstract and the vanquished image overlap things that are left to time and historical period. These paintings that interfere our habits of perceptions directly turning into reflections about self tend to destroy our value judgments. The vagueness that are sought for here tells the state of nullification as a basic concept.
As indicated hitherto, this imagination is settled in a space that is possible with visual language and in an unknown depth and darkness. Via the cogency of visual language, the quest for distanceless existence tends to confine its own visual order to a conflicting whole. The strong will of visualization and the transformation based on consciousness determines the constructed conceptual frame of production process progressing with the attempts to establish a new form each time in an abstract and metaphysic context. This creative approach gains importance in terms of the existence of conflict between the external world and images that becomes the symbol of subjectivity and is formed far from a typical representation strategies.
To evaluate lastly, this distinguished attitude towards art seems to encompass hybrid elements derived in a transitive area between the perceptions and thoughts. What is characterized as difference in many contexts is related to the vagueness of the attributions and the identity of the image gradually erased. This is because as the attributions are clarified, the historical depth and value of the image will provide an explanatory basis for whoever has been happening…. On the other hand, attempts to do free interpretation extract the image from an ambiguous area is the act of identifying the links that give it meanings. However, it should not be forgotten that the painting, in fact, has led to a gloss that reject the representation. This narration made by a language that does not include certain proposition completes itself with feelings and meanings produced only by the abstract view. Nevertheless, there exist a number of nondirectional references in the highly vague description in which a decisive form perception insistently produces equivalences. The attributions do not directly find their references. Therefore, the state we refer to as empty form in the text, which does not include an explicit and intelligible meaning overlaps the time when conceptualization commences. Remaining hidden and confidential, it is in fact a tentative content that has been reached as a result of metaphoric relation established with empty form. In this sense, empty form is primarily an imaginary situation, a conceptual category, dark, tense and darkness…. Empty form is a thing which has an objective structure – to the extent that we can focus on it – which also has visual convolutions, depth or layers.
To summarize, this painting is constructed on a critical language which mystifies it through a categorical object-image order that is not made understandable. Each metaphor-based reading which creates equivalences to visuality through ideational and aesthetic expansions gains importance owing to the ironic and paradoxical state it fell into. The structure we define metaphorically as empty form suddenly encounters humanistic matters, interpretations and analysis on a realistic level with its own weird context. The attempts to denote with names such as clouds, rock, and monster are in fact those that are futile efforts made on the basis of signs. Hence, it would be more accurate to modify this attitude waiting for us as an experience of visualization of ideational relations as an approach in quest of perspectives on which aesthetic foresights concentrated in the consciousness and abstract and conceptual level are reflected.
Naturally, our attempt to compromise with this painting that tends towards concepts such as existence, identity and consciousness of location should be taken granted as criticism that senses the weird language that the visual language modifies. In fact, the thought of producing these structures that seem keen to replace the inner violence and that delves in the self-points to a number of things regarding the intense, dynamic, and mysterious functioning of the consciousness. And/however, it should not be forgotten that, in Gülay Yaşayanlar’s paintings, we are, in fact, focusing on the potential that rejects such links and that diversifies and liberalizing itself and therefore which we conceptualized as empty form or form of vagueness.
See: Mümtaz Sağlam, Gülay Yaşayanlar / Imagination and Distance, Translation: Kenan Dikilitaş, Print: Mas Matbaası, September 2015, Istanbul.