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I Love My Ghetto Painting

Mehmet Dere

Turkey

Painting, Oil on Paper

Size: 11.8 W x 8.3 H x 0.4 D in

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ABOUT THE ARTWORK

Mehmet Dere's artwork "I Love My Ghetto," drawing inspiration from Joseph Beuys' "America Loves Me, I Love America," and also influenced by Jasper Johns' flag artworks, establishes a compelling link between art and societal commentary. The handwritten American flag by Dere not only carries symbolic weight but also serves as a canvas for personal expression. This piece may further allude to the global impacts of the post-9/11 era. The heightened security measures, intelligence reforms, changes in privacy rights, and societal tensions characterize the post-9/11 world. Dere's work, rooted in the Beuysian and Johnsian themes, offers a contemporary perspective, pushing the boundaries of art and prompting profound contemplation on politics, identity, and societal dynamics. In this context, "I Love My Ghetto" can be seen as a reflection on the complexities of the post-9/11 world, expressing how art responds to this new reality. Dere's handwritten message on the American flag, influenced by Beuys and Johns, serves as a poignant commentary on the evolving global landscape shaped by the aftermath of 9/11.

DETAILS AND DIMENSIONS
Painting:

Oil on Paper

Original:

One-of-a-kind Artwork

Size:

11.8 W x 8.3 H x 0.4 D in

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Mehmet Dere was born in 1979 in İzmir. He graduated from Faculty of Fine Arts, Painting Department at Dokuz Eylül University. He completed his MA in the same faculty and now studying his PhD in Faculty of Arts and Design, Painting Department at Sakarya University. The language that the artist creates in his work exists in an area of many (sociological-psychological) layers that touch one another. The conceptual framework of Dere's early works exists in a political area and deals with the socio-political history of Turkey, its multi-culturalism, identity and creating multi-vocality in terms of belonging and cultural democratization. In terms of form, Dere's generally produce installations through which he can reach the whole from smaller parts. Dere use objects, photos, charcoal patterns and object installations in order to create a personal archive (narrative) in a sense. Also, he create objects based upon the social memory and senses and work on video. In his own words, Dere likes to collect "invisible stories" while creating his works. For the artist, a whole is travelling in time composed of small episodes. Dere constantly feeds his work in this way in their reckoning with and creating reality. Deriving from Turkey's cultural history, the exhibition consists of a series of ironic and upfront constructions, focusing on a research of local and social memory. While the artist builds his work with the retrieved images of the cultural memory, he poetically includes his own subjectivity to all these captivities. Issues of social injustice, resistance and politics of survival are raised not through the artist's observation as an outsider, but from close range; a perspective precisely constructed by the practices of life. This stance, at times tragicomic, and at times built upon the relationship of patience and suffering, is tackled to be presented to the audience time and again, uninterrupted, and almost prayer like. Looking at Turkey's cultural history, while focused on memory, individual and social identity research, the recent work shows an abstract trend towards poetic lyricism fed by internal reality. Dere's non-profit art space , located in İzmir ' Gürceşme', also hosts the contemporary art initiative 49A, of which he is the founder. This studio has been founded with the pursuit to create a space where contemporary art can exist in the rhythm of everyday life, open itself up to the world, and interact with its environment.

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