MAY-I BILLUR Painting

Artist/Professor Gulten Imamoglu The artist brings together her intuitions and utopias with a spectators' reality and associates them with the meanings of colourful and dynamic paintings. Images of the artist, which make life and death related, moreover connected, which are seen at the same platform on life and death planes equal and identical. The artist manages to bring together dynamism of beauty with stability of death, infinity of thought with concreteness of art and the mercilessness of reality with livability of dreams. Colours are not seen as real colours in her paintings, but as a vortex reminding us of a natural disaster. Opening our eyes to far horizons, they actually deal with meaningful and unexpected blows to our inner world. Its caressing is like a heavy slap on the face, its fluidity is like an escape sometimes borrowed but intractable. To tell the truth, the painter is skilled enough to escape from us and to take shelter in her colourful universe. She likes colour countercurrents and she does not hesitate to shoot us with that gun. Defining Gülten İmamoğlu as an artist who attacks us with colours and defends herself with colours would not be wrong, as she uses her colours as an instrument for a hurtful sense, wonderful excitement, an idolized death and a livable paradise. The paintings exalt an abstract language where figures are mixed by dancing, in a sense. The artist paints color motions with a figure of fastidiousness and carries us to a perception, which is familiar to us. She concretizes the indefiniteness of figures with meaningful integrity of colours. Thus, she makes a personal, original and clear contribution to a figurative translation which we took from classism. While the paintings act as examples of the contemporariness which she had internalized, they do not estrange to the traditional art forms. Hence, on one hand they are academic, on the other hand, they wink to prodigality of a spendthrift bohemian. While they are displaying the reflections of an adventureous soul, they do not relinquish from a domestic sacred. Yes, the paintings are confidential but at the same time they make provocative eroticism as an dominant power. The universe with its many complex systems contain multiple strata changing from micro to macrocosmos in a dynamic state. There is a constant regenerating motion, stratification and transformation in the universe.