I hear life through a rhythm.

What's the Aran with YeniL?

My favorite thing! I think it's new, you don't know, to meet something you don't know, to human beings, human creativeLSomething belonging to the Ilt. It can also be met again with something forgotten, and forgetting is in the new and very connection with creatingLI. All bond to forgetLI and they all give birth to the new. It's like a game that is constantly rotating in each other.

What's your own patternsL are you over?

By trying different techniques. Trying to forget what I know. When you are forced, you have to try something new. I can overcome my molds when my boundaries are forced to exhaust, I love to stand close to these boundaries, always and in every sense.

What would happen if you had a question that you would always get the answer honestly?

How are you?

If you had an ordinary superpower, what would happen?

Let me eat when I make my finger chic.

Is there anything you've gathered in these days?

Yeah, now I have more courage to have fun.

If an artist from history organized a party for you, who would you like this?

Federico Fellini. In an interview, you will meet more interesting characters than the characters you have created while doing this job. ” he said. All the time I spent with actors, musicians, acrobats is amazing for me!

A difficulty you think every artist should live?

I think every artist should get into trouble with the technique!

Day dreams or night dreams?

Dreams, always night!

How's the function of art production in your lifeL do you define

I can't exist otherwise. Art production is the only thing that keeps me alive. Everyday life sounds very abstract to me. I make sense of people, the system, things about everyday life during production, that's the way I perceive life. I see the daily life very abstract. All relationships and emotions, love, anger in life come to me without an object. I can't watch your connections in everyday life. In this sense, I have taken in the past, like the performer acting method in the present time, there have been things that seduced me. I had the opportunity to understand life, we were objecting there, everything was objectivity and talking to each other. I could observe their relationship and relevance with each other.

Can you tell us about this perforative acting practice?

In the performer acting method developed by studio players and Şahika Tekand, it is important that the player performs his action in the present time in predetermined rules. All performance, situation, rhythm, emotions and thoughts occur as a result of these rules. Actor; Simultaneously with actor's skills, Game Player skills, it reveals the present time, does not try to create illusions, really runs, and really sweats, everything on the stage is real and you can observe these realities with all its causality.

This understanding is howL reflected?

Painting I allow the materials I use to form the limits of the rules. I work on the results arising from the possibilities and impossibilities of the technique and what it maps. The rules on the stage are the grammar of the language created by the performance of the present in the present time. In the picture, this is exactly the oppositeLEven though it is not in my practice Painting The grammar of the language is connected to the performance I perform in the present timeLI can be said to develop.

HowL It turns out that these rules map?

I think I'm dealing with some kind of mathematics. The origin of mathematics comes from the word learning in Greek. My paintings are the projection of my effort to learn all these relationships and connections. This is how the scene is established, my paintings are established like this. Creating a system and its quest. Each picture has its own rules. The material I use is about discovering its possibilities. What happens when combined with water? What happens when I blow? What happens when I drive with my feet? What happens when I drive with my arm? All of this included. The surface of the canvas, like a scene, in the current action on it, the things I do not choose to create that job, I discover the technique with physical movements. With something very inside Painting I do it, like breathing. Body -centered but mental. I'm trying to break the time in terms of mental process.

Why breaking time in the sense of mental process, that is to be at the moment?

It is important for me to be in the present time. I think to carry your past to the present day and come with a definitionL It is the element that leads to something you are not. When you are at the moment, just being as much as sitting, for example, you can make everything possible in the uncertainty of the next process. When I look at the past and try to make a definition, I feel like I have betrayed myself because I get away from me in the present time. That's why I produce it without designing in advance. As I try to follow the rules drawn by the technique, I give up many things. The process of purification is in a sense. I have no search for plastic in the known sense.

When you get rid of your past, you are free from your identity in a sense. Is this an area you opened to the audience?

There is no identity and a subject in my paintings, while everyday life is so abstract, I try not to move anything about myself. I think it's always a quest. I am the one who cares about the distance between the stage and the audience. It is important to open space for the audience, to open a space and to be unidentified and to show something without identity. The abstract is important to recognize the space to read it, to read it, to be visible, to read it.

This process, which center its body, is how a performanceL are you separating

In my opinion, in performance, the work itself is a body and must be definitely a protest. There must be a real reason for using the body, I shouldn't be able to express that I want to express it, and that's why I must be doing it. I would like to come to a point where I was free. I push the limits of the technique in the picture.

Is the lack of colors part of this purification?

Seasonal. Looking at colors from black and white is a very basic thing. I actually have a great passion in me against colors. Very power at the end of such a concentration and focusLü brings feedback. I have a hidden excitement inside meL that I will come back. Because they work with me in black and white.

Why coal?

Because it is one of the most primitive techniques and is accessible even in the most impossible. I think coal is very free, very possible, a little surprise, I don't know what to happen. I also use spray, to be part of mathematics again. They all have a relationship and a rhythm.

How's the preparation processL is working?

I do not take notes and design anything, that process comes out spontaneously. Every time I start the canvas, I take a risk. What size and what kind of risk is taken is what determines that picture. It is completed according to its own rhythm and its own atmosphere.

Why is my rhythm important to you?

All things with rhythmLI am. I hear life through a rhythm. The rhythm begins with our hearts and rhythm dominates all my visuality. My whole process is based on performance and music.

Photography: Enes Alba
Video: Mercan Dinçkök
Interview: my story Pala
Page Design Application: Mercan Dinçkök
Page Design: Studio Pulle

 

See the works of the artist