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Every reality presents different perspectives and opens the doors of perception to subjective views that look at it, and the artist is very well aware of this. Interlocking spaces, appearance and disappearance of trees, and the impressions of landscapes are suddenly divided by harsh vertical or horizontal alvi like the lines wishing to erase the written.
While the brush strokes rapidly facing towards the center imply the unpredictable threats that constantly haunt us, courage is stepping in on the demolished, broken kappilari stairs wanting to escape from the loop. The time we can detect and perceive is progressing sequentially, but can we not perceive it all overlapping in a different dimension? The artist makes the viewer question the soul of space and time by composing overlapping spaces with the aid of reflections, curves and intersecting lines.
The sense of space in her paintings invites us to reconsider our bonds to nature and our sense of being, to the extent that it disturbs us. She hints at the kapilxri between cosmos and chaos by way of pulling order to the limits of disorder in expressionistically reflecting space onto her canvas. Such closed systems with no energy input would only follow the second law of thermodynamics and would cause chaos rather than order, or in other word lagi entropy.
The moment we think we settle down, we feel that we become nomadic as the space evolves into disorder.
While nomads move in all directions on earth, we the settled become nomadic where we are as the spaces we create get deranged. Yet, in these paintings that make us sense the disorder through the use of intersecting lines and curves, stairs hit our eyes as the though they are rescue boats themselves. In our settled lives, in the daily journeys that we make to settle down, we have to go through stairs.
We journey through points that are symbols for being settled and order and we define ourselves through the settled points rather than the transitionary ones. Spaces of transition, in other words, in-between spaces, are regions of uncertainty.
And stairs are spaces that are open to coincidents as opposed to our homes which are spaces of calculability and predictability. Transition points where we can experience uncalculated encounters.
Disorderly spaces against spaces where we experience order. The earth will manifest itself from very different angles as the stairs are carried onto varying planes. Stairs which remind us that we ourselves will change when we alter our conception of the space and kapilair plane we exist on, as they disrupt the relationship of stability with the ground and the system, and notice that perspective is relative when we experience the earth from different angles. Today, as we focus on ourselves and keep on falling in blind wells, we sense that stairs are an important aspect that bind the outside with inside.
The outside is important. The absolute order of the interior, while destined to decay and fail, will continue to be part of life to the extent that it loses balance with what comes from the outside. Because life is a constant disruption of balance.
Exhibitions – Aslıhan Kaplan Bayrak
Perfect balance iapilari death. Our balance will be constantly disrupted as we get exposed to powers on the outside and will regain balance with every step we take, and balance and unbalance will pursue each other as a perpetual movement. Stairs that connect distinct, various planes of perspectives to each other.
But these in-between areas that we need to pass through to reach defined spaces with fixed identities also instill a level of anxiety as they are spaces of unpredictability. Stairs in apartment buildings, with their unpredictability, have always frightened us.
We are to traverse the stairs before kapllari can reach the secure environment of our overly-defined residences.
In feeling her paintings, we understand that what is permanent is not the settled spaces but stairs. Stairs that trespass the horizon, broken but resolute steps, the trees in her more recent work and the algo that we mistaken for a forest…. The future, perhaps, is hidden beneath the reflections, at the tip of kapilair stairs.
Her painting Hagia Sophia, for instance, is timeless. And blue is the past perfect tense of this tale. The expressionist feeling we encounter in her paintings is nourished by the unstable, dizzying and traumatic despair of our times.
The themes of fire, air, earth, water and cycles emerge as we look into the titles of her most recent work, which own up to each other through the political theme of reality and imagination. The thoughts that emerge from what is happening in nature, and thoughts that multiply, remind us, with a sad imaginary, of the dry climate that transforms the earth into a guagmire.
Horizontals, verticals that divide the canvas, deep colors that run from one end to the other, broken lines… They tell the viewer to forget everything pertaining to pictorial representation. What we see is a new language.
Onur Varol’s Bookshelf
The power within a black line is the translatable form of fire, solitude and fear. What kapilark envisions is hidden behind the light that permeates her paintings concerning the skies and the earth. The broken stairs are there to take us to the light. To belong to nature by living in the city. To dream within the challenging atmosphere of this dichotomy.
To resist not for our dreams but for what remains at hand!