View In Room
View In Room
Acrylic on belgian linen and cotton
Dimensions: 100cm(H) x 200cm(W) x 5cm(D) / 39.4"(H) x 78.7"(W) x 2.0"(D)
Note: Actual colours may vary due to photography & computer settings.
|solid|, [frame], __line__ (negative space study), 2019
Acrylic on Belgian Linen and Cotton
Three Panels, Dimensions variable (each, double overlapped 35 cm x 50 cm canvasses). Installation of three panels fit into 100 cm x 200 cm rectangle.
Artist Otto Batuhan Turker explores the spatial paradox of negative space and the object, based on Sol LeWitt's 'Paragraphs on Conceptual Art':
‘’It is the objective of the artist who is concerned with conceptual art to make his work mentally interesting to the spectator, and therefore usually he would want it to become emotionally dry. There is no reason to suppose, however, that the conceptual artist is out to bore the viewer. It is only the expectation of an emotional kick, to which one conditioned to expressionist art is accustomed, that would deter the viewer from perceiving this art.
Conceptual art is not necessarily logical. The logic of a piece or series of pieces is a device that is used at times, only to be ruined. Logic may be used to camouflage the real intent of the artist, to lull the viewer into the belief that he understands the work, or to infer a paradoxical situation (such as logic vs. illogic). Some ideas are logical in conception and illogical perceptually. The ideas need not be complex. Most ideas that are successful are ludicrously simple. Successful ideas generally have the appearance of simplicity because they seem inevitable. In terms of ideas the artist is free even to surprise himself. Ideas are discovered by intuition. What the work of art looks like isn’t too important. It has to look like something if it has physical form. No matter what form it may finally have it must begin with an idea. It is the process of conception and realization with which the artist is concerned. Once given physical reality by the artist the work is open to the perception of al, including the artist. (I use the word perception to mean the apprehension of the sense data, the objective understanding of the idea, and simultaneously a subjective interpretation of both). The work of art can be perceived only after it is completed.’’
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Lives and Works: Ankara - İstanbul - Berlin
I confess, my soul does not fit in any academic formalism, including definitions to apply which motives the output that concretes in artisan’s hands. My soul addresses the spirit which comprises a body of data, extends beyond certain fundamental truths and dogmas that limit the artist within their fence. I cannot be taken shelter in the inhabitable shores since I have tasted experiences of any kind of intense pleasure that extends beyond the known. Experiences which are sexual, fetishistic, anarchistic, defensive, political et cetera. The artist’s real truth, the experience, is always in loop which starts from anywhere then falls into the endless abyss. As opposed to the definitions, I deny any information for the informations sake. To find my own truth… Which defines myself as an artist which is not in the dictionaries, but in life itself.
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