Mimar Sinan Fine Arts University, Faculty of Fine Arts, Department of Interior Architecture
Anadolu University, Faculty of Education, Department of Fine Arts Education, Painting, (BA)
When he reflects the static posture in his artworks in which he usually concentrates on portraits, he uses neither a frozen expression method as in the ancient sculptures nor a realistic expression method as vivid as the human body.
He generally dwells on the limbo state of mind in his artworks; His portraits are neither fictional nor real, neither alive nor dead, neither woman nor man. Before he starts working, he does not map out and conclude what hi is going to reflect during the painting process. At this point, we might say that he does not manage the process properly. As the total dedication is achieved, everything comes to existence within the process. He mostly expresses the dedication in this process in his portraits, and he believes that the expression becomes more influential, simpler, and more transparent in this way. The most important point that he pay attention to as he works is that while he is fulfilling the desires that the painting demands from him, he should also satisfy his soul’s desires to a certain extent. In this manner, he believes that the wall between the painting and his demolishes, and he produces the artworks that will represent me intimately.
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