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Hakan Yoney

KA1910070036-9 (Black&White Series - Ballerina)

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Hakan Yoney

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KA1910070036-9 (Black&White Series - Ballerina) by Hakan Yoney

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KA1910070036-9 (Black&White Series - Ballerina)

by

Hakan Yoney

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$ 805

Or 3 payments of US$268.33 via instalments at 0% interest!IconInformation

Overview

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2019

Acrylic and airbrush on paper

Unique Work

Dimensions: 100cm (H) x 70cm (W) x 0.1cm (D) / 39.4" (H) x 27.6" (W) x 0.04" (D)

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

Artist Statement

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Loneliness in the crowd
I chose this path because I thought the picture was the area where I could convey my own feelings sincerely and because canvas and paper were the best fit for it.
Since I am in constant contact with people in life and constantly observe people, I wanted to reflect on the feeling of questioning people's lives and themselves in society with this picture.
I chose acrylic material to work fast.

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Artist Profile

Born: 1973

Hometown: Istanbul

Based in: Turkey

About Me:

Born in Corum in 1973
In 1996, he graduated from Dokuz Eylül University Buca Faculty of Education, Department of Painting and Business Teaching.
Between 1998-99, he taught painting at Izmir Çakabey College.
In 1999, he decided to quit his teaching profession and decide to make art.
He opened his first workshop in Denizli and started painting studies.
In 2012, he moved to Beyoglu, Istanbul, and opened his second workshop.
In 2019, he completed his master's program by giving the Thesis on Ekrem Kahraman's Place in Contemporary Turkish Art from Pamukkale University Department of Painting teaching.
In 2020, he moved his workshop to Mecidiyeköy, Istanbul. He continues his art studies here.
His paintings are in private collections.

General information about my direction studies:
I decided to go outside the traditional pattern concept from the second year of university and turned to distorting the truth in my studies with the guidance of Prof. Dr. Fahri Sumer in order to move forward on a more original path.
Over the years, in addition to academic education, I decided that it was necessary to be interested in philosophy, poetry, sociology, literature, etc. in art and started to examine the works given in this direction.
By adopting an expressionist perspective in my paintings, I try to transform what I see not as it is, but in my own intellectual world and transfer it to canvases in accordance with my philosophy of life. From this point of view, my work naturally differed over time.
The inspiration for my work comes from a wide range of fields. I take advantage of the people, events and feelings I encounter in daily life as well as the cult works that are transferred from the past to the present. Besides, I work on the unique subjects that my imagination offers me, without breaking away from reality.
When I set out with the idea that all living and inanimate beings in the life weave, although they seem to be uninterred, are actually intertwined at any moment; I think that all beings in nature affect each other, whether they are aware of it or not, spiritually or physically.
Everything that exists in the world consists of moments and lines that intertwine in my mind. It wouldn't be an exaggeration to say that all the memories and information in my mind turned into my works with the deformation of all the beings I encountered throughout my life.
In my work, I changed my perspective as soon as I realized that we could actually perceive a lot of things when I thought we were focusing on something in space. For me, it's no matter if the figures and objects are in the front, back or anywhere. Therefore, the lines began to take part in my studies, away from the anxiety of the beginning or end, the place in the picture, the direction.
Just as our lines in life intersect without calculating in a strange way, in my work, an existing line can intersect with a line farther away, or vice versa.
I don't worry about beauty and ugliness in my figures, but naturally the reflections of truth in my perception go into my work. I don't want to convey subjects through the sense of male or female, but through the universal sense of human beings. My color choice in my work is based on the subject, thought and emotion I cover; sometimes I prefer to use colors with universal meanings and sometimes with my personal meanings.
I make the deformations in my figures according to my philosophical thoughts and emotional structure at the time. Naturally, my pictures differ over the years in the direction of the course of my intellectual world.
Expressions, looks and body parts are important as a narrative tool in my pictures. The size of the hands and feet and their resemblance to claws are not actually a violent point of view, but rather a sign of our struggle against life and our efforts to hold on to the world.
My desire to capture expressions is not to achieve this throughout the face as a whole. My efforts to tell everything at a glance are actually built on the idea that very rare people can see life with both eyes. This has caused me to place my figures in one eye.
Since I think about the necessity of expressing not only beauty but also realities, some of my studies show deficiencies in figures, wounds or deformations that seem unnatural. In fact, if we look carefully, we can see that these details that we think are deformed exist in life, very close to the error.
In addition to all this, I have works that I include symbols and symbols used in the historical process and in different communities because I believe it is not possible to tell with drawing alone. As a last word, I would like to say that some of my works have special symbols and symbols for me.


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