Bring the hype to art

My work is always dark, there are dangers underneath; If you don't know what to do when you go into it, it seems to swallow you.

Cankat Kalyoncu

My work is always dark, there are dangers underneath; INTO

You take photos for your pictures and collect them, how on the real and fiction canvasL Coming together?

My pictures carry pieces from the photos I took. My recent paintings are different, but I usually worked with my own models. I photograph my models in the moments I have created, first bring them together on the digital side and then transfer them to the canvas. I build my own reality with a kind of Constructed Reality. I create universes other than the frames I have created and transfer them to the canvas. At the same time, I am an advertising director, I am already creating a lot of visuals during the day. Creating your own image is very attractive to me, I collect data, I save data, then start using the scenes thereLI am on the canvas. This process can sometimes take a few hours and sometimes a few weeks. I paint a few jobs at the same time, my work is very layered, I am dealing with the other while waiting for someone to dry. While creating the universe on the canvas, I do not photograph the spaces mostly, I find it from the internet, so that the spaces are usually the plastic side of the work and the ace.L It is more important how much it feeds the fiction.

How to the models you work withL a flexibility rightLare you? Is everything under your control or is there a common creation?

Actually, two -sided, I'm directing a lot. Since I have taken a scene for art and I do not want a standard pose over academic art forms, it should be revived a more realistic way. Sometimes I work with professional models, sometimes there are amateur models that make themselves, sometimes celebrities want to pos. Since it is like creating a movie scene, I know what I want to create in advance, my Mood boards are ready, howL I know the details that I will use a light, the rest is againstLIt is up to the interaction. I trust the player very much, if it is good, it is very easy to realize what I dream of, and sometimes you get better than you dream, but the part I leave flexible is very little.

My work is always dark, there are dangers underneath; INTO

Does your relationship with him change after the work is finished? What do you think about overcoming yourself?

From the moment it was over, I didn't know it would be like this, but I almost don't even look at your face from the moment it was finished. I just look at my just a few pictures, the reason is protecting the mystery, the paint or the feeling it gives, I don't know if it is. I wouldn't guess it would be like that, but after I made a work, the relationship I set with him ends. Even if he went to a collection, I completely forget it and I go to the next job. Perhaps this is what lies under what encourages to produce. Bond a lot of thingsLIf I stay, I will eliminate my chances of change. I have no problem with being one of the artists who can represent all the work. I fully accept the change in my career. Picasso affects me so much, because there are periods and intermediate periods, it is constantly innovative. For example, now I started to make NFT. It concerns me more technological infrastructure and innovation than the sale of NFT.

With Blockchain and Web 3.0, how to become decentralized to usL You think it will bring innovations?

The world is going through a revolution and we see these transitions more often than before. A revolution we are in but not fully named. I foresee that it would grow incredibly when the first Bitcoin came out, perhaps it has an effect on being an advertiser. Because it's about freedom. It is incredibly liberating that it is possible to have a data separately from the center and share it with the Web 3.0. You opened the box of the pandora once and it is not possible to close it. Therefore, he had to adapt to it. The NFT, which will also derive different versions in the future, is therefore attracted to me. Currently, there are such games that you are making new universes that you make purchases, which goes towards exhibitions in digital universes.

My work is always dark, there are dangers underneath; INTO

The issue of making time and space is an essential, which is one of the dominant issues in the picturesL one againstLfinds it?

When we match the concept of metaverse, we will be able to talk about our own universes, and with the avatars we have created, in fact, time and space for your cognitive form is independent in a senseLwe may be. Time may not stop for your biological form, but you can stop time for your cognitive form. You can create your own universe. The venue is currently limited, but very soon, an organic transition will be provided between all these universes. It seems that we will eliminate our needs for our biological form. The accuracy of this is a lot of discussionLof course. Even though it progresses very quickly, we are still in our lives as a game world experience for now. It will not be possible to talk about a complete universe until the day we will decide to fully transfer our consciousness and give up our physical existence. What we call consciousness is actually knowledge, which is a state of infinity that I am curious about, perhaps it can take us to another form.

What is the function that your paintings see for you in the search for reality? The transfer of information and changing the form is actually present in nature itself, how to this new digital canvasL offers new opportunities?

Quantum mechanics mentions the indigestion of knowledge. When the consciousness is transferred, it somehow find a way to itself and continues, howL We don't know it continues, but it does. The issues that we cannot fully discover yet, and science and philosophy are very intertwined. I can say that it is one of the most impressed areas in my paintings. When we talk about quantum physics and micro universes, we are also talking about great unknowns and surprises. I also use my paintings as my own discovery journey in these areas. The idea of ​​living forever attracts me a lot. I have a desire to live forever. For this reason, I sleep less, I see it as a time stolen from life since my childhood. I am also your knowledgeLA form of ığıL Maybe I'm looking. It has always been a way to live forever for the ages, and he found himself in art. In most people who do art and use it to describe it, this is even if they don't realize it. There is this idea of ​​eternity in quantum mechanics. I am trying to explain this intersection of art and science on my canvas. In my NFT project, which I plan to share in 6-9 months, I started to try it with its digital state. 8-9 in the pictureL I live again and I wonder if I read the animation again. I would like to create myself completely in front of the screen. I work with a team to create what I imagine as I wish in digital, such a formL I found, advertiserLThis was one of the benefits of me, and I work with big teams while shooting advertising. In particular, especially the black matter, quantum circulatory, consciousness, limitlessness of communication, the physique of knowledge will be the movement of the movement of the movement. After the canvas for what I want to transfer, the digital world offers me this opportunity to work. I do not want to exhibit these works by using the digital world as a main medium, and I will work with a gallery, and I want to have a physical side. It is important for me that someone really sees those things and encounter the audience outside the digital universe.

My work is always dark, there are dangers underneath; INTO

You are an artist who has started to form in the preparation phase of the NFT Project, how to make this renewal for the recent work on the canvasL can we observe?

There are more illustrations in my recent work, less realistic. Although it is not more colorful as the subject, my recent works are more colorful. I started bringing together two things I enjoyed, I like to do realistic things about the human body. The unification of the human body with more illustrative pieces, which I express more freely and originally, makes me very liberated. It is very difficult to do what is not done, but I'm looking for it. Oil to refer to realistic figures to the past and the academic sideLWhen transferring to the canvas with I paint, I transfer more expressionist figures using the illustration side of the work using acrylic, and there are such reasons why the canvas is Mix Media. I am fictional in the picture.

If we look at the creation process with a cyclical eye, what the relationship with the audienceL can you define?

Everyone wants to be liked, if you are doing art, you want your work to be liked. The concept of appreciation is a little different to me. I like to hear people find different and interesting. Provoking, for example, I was doing more provoking work in my studio in New York. Sometimes I like to disturb the other side, nud and read their reactions. It seems more interesting to me to awaken, encourage thinking and observing their reactions. I'm just running away from answering, I ask questions, this is an escape method for me, and for the other party an opportunity to interact.

My work is always dark, there are dangers underneath; INTO

What would be your advice if we were to step into the world you have built in your paintings and experience an adventure? What is the relationship we have established with the unknown side of life hereL one againstLfinds it?

I would say be careful. Because I think my paintings are dangerous, I feel so. In order to reflect this, it is necessary to be more free about how much you can reflect this. In order to be very free, there should be no galleries, I have to say this clearly, I don't say it for every gallery, but usually the galleries pressure youLIt's about the things you want to produce. That's why I work with galleries that match myself. My work is dark, there are dangers underneath, if you don't know what to do when you enter it, it seems to swallow you. It intersects with the part that we are aware of, that we feel, but cannot define. With the sense of eternity in the universe I have created, it eliminates time and space. This is a situation that is removed for me and because it is not aware of the outside, I feel that you will attack the outside, I did not construct in such a way, of course, but I think it would be like that.

How to success for an artistL You describe what conditions and situations do you play a role in this?

I think if you are doing original and different jobs, successLYou become Refik Anadol. He is creativeLIK was immediately noticed. NFT Artist Murat Pak is not known very much in Turkey, but very successLI find it. You need a vehicle to be noticed, the gallery. HowL You are very important. The artist only with his own successLUnfortunately, we can't stand. The artist always cannot do the work he wants to do, he is asked to do the works that can be purchased, it is easier to do, but you do not go. Some artists manage to do very different and innovative works in a way that the mass of their masses can love, Refik Anadol is a good example of this. It is very important that you see the right support. I know very few galleries with a wide vision. This is one of the most important problems of the art ecosystem.

My work is always dark, there are dangers underneath; INTO

Did you come across the molds you have entered in the art education you received, but you have to overcome later? What were the most difficult experiences?

I started to make art by learning myself. Then I studied in one of the most traditional and solid schools in the world in Repin Institute of Art in St. Petersburg. Then I went to New York, Florence Academy of Art was a traditional school that gave education with the French echo. It was difficult for a hyperactive person like me to be taking a step by step and a technical training, but my work has changed and developed a lot. At the level of ideas, people's own reading and curiosity nurtures people more, if the education you receive is more limited, if you have no opportunity to meet many visionary people. Even though I had a hard time in language, I was very lucky at the Russian Art Academy, I had the opportunity to meet visionary people, and I was technically fed in New York. Visual storyteller in Italy, IED MilanoLI got the training, I think that's what impressed me the most. Picasso says that you need to learn the rules to destroy the rules. St Petersburg and New York were places that taught me the rules. I had the chance to open a tiny workshop while studying in New York, in a very special place where they turned an old factory into artist studios, I could keep what I learned while drinking coffee in the common areas there. The cities that will be inspired for me is Istanbul, New York, Sao Paulo and Bangkok, especially for surreal, utopian, chaotic spirit.

You are also a collector, what can you say for Türkiye when you look at this lens? What do you think of the collector's impact on artist production?

I've been collected for a long time, for about 8-10 years. I used to buy it, they would be more suitable for personal taste. Later, I mostly started to make a collection of figurative works. It slowed down a little bit during the process of pandemia, but it used to be every yearL I had a problem like getting a certain number of works. I also buy it by traveling, I do not hesitate to buy online. I get more work than the world, but one wants to get more from his own country becauseL My motivation is to support other artists, we have similar concerns. I cannot find a job I want to include in my collection in Istanbul for a few years or it is very expensive, a lot of similar works are coming out, your decorative works are very opposite.LI see you find it. I don't want anyone to get it, but I'm a little dadaist approaching, but my artistic attitude is not in my paintings. The decoration part of the art is tired of me. The artists also have to earn money, and this is the other side.LYou need to like it, so I can't say why you're doing this to anyone. I see that this is more common than before. The number of good galleries is very small, I think this is a serious problem because it turns into monopole. At the same time, I say as a businessman, someone who knows the business world, what I have always said to galleries, if the gallery wants to collector, the important thing is that the gallery does not escape and wants it. Whatever the galleries find it easy to come, he usually marketing it and art does not go forward. Collector is very important for art to progress because he supports the artist. If you do not provide it to support and do not force it, you cannot make a new artist. If the different one is not supported, we cannot see the new one. I think the number of good and libertarian galleries is essential. I think it will be easier with online galleries, I think the need is in this direction. .

My work is always dark, there are dangers underneath; INTO

Photography: Abdullah Yazıc
Video: Mercan Dinçkök
Interview: my story Pala
Page Design Application: Mercan Dinçkök
Page Design: Studio Pulle



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