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Djochkoun Sami

Veil

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Djochkoun Sami

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Veil by Djochkoun Sami

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Veil

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Djochkoun Sami

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$ 1,600

Or 3 payments of US$533.33 via instalments at 0% interest!IconInformation

Overview

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2022

Acrylic and ink on paper

Unique Work

Dimensions: 70cm (H) x 50cm (W) / 27.6" (H) x 19.7" (W)

Note: Actual colours may vary due to photography & computer settings.

Artist Statement

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We check on a constant basis our meticulously administered records, delve into archives, dig into the uncertain. But what if all the grand narratives are gone for good, and the Anthropocene is well over the horizon? What would be our exit, if we are trapped between a bleeding past and an increasingly gloomy future? How we are supposed to decipher the backmasking if there is no content?

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Artist Profile

Born: 1973

Hometown: Silistra

Based in: Istanbul, Turkey

Born in 1973, Bulgaria. Graduate of Mimar Sinan University of Fine Arts, Faculty of Painting, Istanbul (BFA, MFA). Regularly exhibiting at various group shows, illustrated magazines, poetry books, theatre posters. Lives and works in Istanbul, Turkey.
While including architectural and historical references in his works, he also maintains an affinity for the templates of formalist painting. The limited palette supporting his drawing based process indicates and makes visible an effort towards pictorial and formal values. Floating in between stylistic borders of expression and figuration, Sami’s works are frequently borrowing forgotten, abandoned architectural spaces belonging to the recent past, exposing possibilities for the existence of anonymous, depoliticized homogeneous spaces. In some of his recent works, stripped of any historicism or allusions, objects, rocks, organic matter and voids are accompanying a horizontally based perception of time.
With a cynicism characteristic of the artists grown and shaped in the totalitarian systems of Eastern Europe, Bulgaria-born Djochkoun Sami questions typical values that are taken for granted. His works employ references and motifs of modernity, progress, regress, and the grand narratives of the past. In some of his paintings, we can easily see how the political is reduced to its grotesque dimension: the game of power consists of a relentless struggle, flag-waving, and reselling of imaginary dreams. In a sense, Sami is engaged in a hauntology research of its own. After all, the agendas of contemporary societies are shaped by ghosts of the past.


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