Collage Things (Kolaj Şeyler)

When writing an introduction to a catalogue, it is more sincere and more eye-opening to start it with a more colloquial language rather than a formal one.

As an artist, it’s true that I’m in search of different kind of works as every artist should be. However, I believe that ‘the destination’ itself is the point to make. ‘The journey’ of searching is not a bit of importance. Simply, searching is my deed. In addition, a contemporary artist should deal with the issue of sustainable image-making and establishing it. What is significant is the struggle of the artist understanding the core either with images or other compositions in the path of self-identification. Looking through this frame, the artist wouldn’t struggle with any sustainable (accepted) form for decades.

I chose the name ‘Kolaj Şeyler (Collage Things)’ as a metaphor for the content of the exhibition. Although it seems as an easy technique at first sight, it has some particular difficulties inside. In fact, these difficulties have nothing to do with the formation of the exhibition content or visuals. Therefore, I would like to make the impression that the process of production is easy on the viewers. However, the content of the exhibition should be excluded.

I feel desperate and inefficient in handling post-modernism as a mere artistic point. Because the function of art in social reaction was totally different from the one we know today when the traces are followed. The art now is the cycling element of ideology rather than a form of it and I think it has achieved this mission. Although I don’t prefer the verb ‘have a mission’, the verb ‘assume the mission’ sates its conditions. It is observable the difference between the ones that do their missions unquestioningly and the ones that don’t in terms of functioning and spreading hierarchy.

The visible form of post-modernism shows itself as collage in both cultural and artistic ways. As it is the case, I started to name it with an appropriate language to appreciate it. It also serves a trial-and-error adventure for me. I should say that going beyond the borders is the impulse to me. My intention is to get rid of the cut-and-dry norms. For this reason, I’ve created dozens of unique works. These works are composed of 12 independent volumes. Each of them is a part of the same visuals of the same idea but in different shapes, so the feeling of them not being consummate is striking. It is the last thing for me to be original or fresh. I’ve tried to do my best and left the rest to the viewers. Besides, the hindrance meaning has always fascinated me, but I’ve tried to combine the hindrance and the surface meaning as they are the starting points of my works. I would rather move the viewers with total images than a confidential expression.

The texture of the work is my style. I’ve tried hard to combine the colors and images of different artists. I want the intermingling images the viewers see to be an internal journey for them. I transfer this feeling to them. My main concern is the contradiction of what they see and what they think.

I have some collage works that I describe as 3D collages. It is, in fact, a sort of illusion and it triggers the alienation. These are the things that are formed with successive visuals. I adapt them to my style. Here they are!

I pronounced different names to my exhibitions to make the viewers think differently. Whether we realize or not, the age we live in is a post-modern one and it is a strong tranquilizer in every part of our lives. It captivates our souls in a mystical way. I want these different names to function as an antidote for the viewers.

For an artist, the most important way to express his/her ideas directly is the painting and I’ve been trying to do it.