February 7 - March 23, 2013
C.A.M Gallery / Akaretler hosts a group exhibition of six artists named “Kâğıt Üstünde / On Paper” through February 7 until March 23. The artists include Nazanin Pouyandeh, Cenin, Burcu Yağcıoğlu, Olgu Ülkenciler, Nihal Martlı and Necmi Gürseler with their emphasis on patterns and figures applied on paper as the medium.
“When a work is completed on paper, it rejects to be attractive, it is more calm and sincere. It becomes the simplest and raw version of my vision and my story that I want to share with the audience,” says Nihal Martlı , as if she is witnessing for all the works exhibited in the show.
Iranian artist Nazanin Pouyandeh, who lives and works in Paris, reveals the influences of her eastern roots through the symbols and figures that are alluringly colored on her paper works. While the details within the works form striking differences that capture the viewer, they have a sense of complementing each other as well. The works capture artist’s unconscious experiences, dreams and memories.
Through the works, we once again realize how uncontrollable and uncertain surrealism is. Cenin, regarded as one of the young surrealist artists of our present time, participates in her third group show at C.A.M Gallery. Cenin demonstrates her struggle of belonging and confrontation of existential and unconscious phases through the context she forms in between birth and death. Similar to Pouyandeh, Cenin’s symbols on her paper works reveal the hidden aspects of dreams and unconscious world one faces, while involving the viewer into this mysterious journey.
Burcu Yagciogu, known for her effective use of empty spaces on her works, once again manages to transform the emptiness into a presence/existence on paper. Transformed experiences, images or ideas are another conspicuous element in her practice; “The image I have on my mind changes and transforms into something else in the process of making it, which is in the nature of my practice,” tells Yağcıoğlu. Juxtaposition of calm shadings and intense pencil traces of patterns form the contrast and movement within the work.
Influenced by Max Ernst’s technique of frottage*, Necmi Gürseler presents repetitive patterns lined next to each other on paper. These repetitive lines form deformed, spiral and isolated figures.
Olgu Ülkenciler’s “Zevkli Rezalet” frames both visual and conceptual references against Rococo, which had emerged in France during 18th century. The paper works differ from each other due to their sizes and texture; Ülkenciler uses pencil, acrylic, spray paint etc. to develop layered surfaces on paper.
It is wiser to enjoy and to get lost in this space that includes works that are independent, mysterious, simple, and sometimes experimental rather than looking for a common story and a language behind all the works.
*(From French frotter, “to rub”) Technique of reproducing a texture or relief design by laying paper over it and rubbing it with some drawing medium, for example pencil or crayon. Max Ernst and other Surrealist artists incorporated such rubbings into their paintings by means of collage.