TA224040007-193-Tree-BJÖRNSTJERNE BJÖRNSON -Nobel Prize 1903 Print

General information about my direction studies: I decided to go outside the traditional pattern concept from the second year of university and turned to distort the truth in my studies with the guidance of Prof. Dr. Fahri Sumer to move forward on a more original path. Over the years, in addition to academic education, I decided that it was necessary to be interested in philosophy, poetry, sociology, literature, etc. in art and started to examine the works given in this direction. By adopting an expressionist perspective in my paintings, I try to transform what I see not as it is, but in my own intellectual world and transfer it to canvases following my philosophy of life. From this point of view, my work naturally differed over time. The inspiration for my work comes from a wide range of fields. I take advantage of the people, events, and feelings I encounter in daily life as well as the cult works that are transferred from the past to the present. Besides, I work on the unique subjects that my imagination offers me, without breaking away from reality. When I set out with the idea that all living and inanimate beings in the life weave, although they seem to be uninterred, are actually intertwined at any moment; I think that all beings in nature affect each other, whether they are aware of it or not, spiritually or physically. Everything that exists in the world consists of moments and lines that intertwine in my mind. It wouldn't be an exaggeration to say that all the memories and information in my mind turned into my works with the deformation of all the beings I encountered throughout my life. In my work, I changed my perspective as soon as I realized that we could actually perceive a lot of things when I thought we were focusing on something in space. For me, it does not matter if the figures and objects are in the front, back, or anywhere. Therefore, the lines began to take part in my studies, away from the anxiety of the beginning or end, the place in the picture, the direction. Just as our lifelines intersect without calculating strangely, in my work, an existing line can intersect with a line farther away or vice versa. I don't worry about beauty and ugliness in my figures, but naturally, the reflections of truth in my perception go into my work. I don't want to convey subjects through the sense of male or female but the universal sense of human beings.