Book 2015
IMAGINATION AND DISTANCE / Gülay Yaşayanlar
Text and Design: Mümtaz Sağlam
Cover Desingn: Can Sağlam, English Translation: Kenan Dikilitaş,
Printing: Mas Matbaası
Istanbul, 2015. ISBN: 978-605-84066-0-5
Preface
ON THE TEMPTING VAGUENESS OF REPRESENTATION
Recently, in the fi eld of plastic arts, quests for diff erent linguistic structuring and new types of discourse have come to fore rather than the conventional expressions. In addition, most of these experiences that transform the visual arts tend to associate the practices of common discourse analysis and interpretation, which showcases a confl ict regarding already unsystematised production forms.
On the other hand, the creative process Gülay Yaşayanlar is going through is being shaped on the basis of leading characteristics that refl ect the relationship between the concise form and direct narration. Keeping her energy inside, she produces masses transformed into empty forms that inundate their volumes. She seems to be in desire of obsessional reproduction by transforming her internal tension into a creative action. It seems as if the marginalized and strange looking things were looking for symbolic equivalences that stand for simultaneous existence. At this point, heading for an ominous vagueness, she prioritizes the violation of an established perception and an experience of transfi guration. Moreover, she suggests new forms of relationships with organless bodies which have not yet become an object or a fi gure. More importantly, she enables this with the simplest and the most direct visualization. Contextualizing us into her seemingly meaningless spaces, she makes us witnesses of the discussion of or the relationship between absolute form and absolute dissimilitude. Th erefore, this critical approach towards already existing accumulation and production can be characterized as a study that conceptually evaluates the relationship between the envisaged fi guration and the realized experience. In essence, considering the image integrity which Gülay Yaşayanlar perceives as a sign, the emerging tempting vagueness of figuration is highlighted and the meanings and cases she implies are underlined. Her struggle generally encompassing a number of defi nitions garnered and formed beyond image by becoming independent in the quest of concepts and visualized thoughts has turned into a writing experience trying to ensure its own integrity.
Accordingly, the transformative aspect of the idea of visuality encompassed by image-object relationship is problematized and associated with the quality and logic of the fi ction emerging on the basis of language and narrative forms, which are means of expression. It should just be stated that this production continues to develop itself in a way to allow for new solutions. For the very reason, this experience of look that, on the one hand, focuses on the productions of the era for a period elaborates on the construction of seemingly unvoicable structure-format, but, on the other, tries to realize a similar production by using words.
MS
Istanbul - Izmir / July 2015
ON THE TEMPTING VAGUENESS OF REPRESENTATION
Recently, in the fi eld of plastic arts, quests for diff erent linguistic structuring and new types of discourse have come to fore rather than the conventional expressions. In addition, most of these experiences that transform the visual arts tend to associate the practices of common discourse analysis and interpretation, which showcases a confl ict regarding already unsystematised production forms.
On the other hand, the creative process Gülay Yaşayanlar is going through is being shaped on the basis of leading characteristics that refl ect the relationship between the concise form and direct narration. Keeping her energy inside, she produces masses transformed into empty forms that inundate their volumes. She seems to be in desire of obsessional reproduction by transforming her internal tension into a creative action. It seems as if the marginalized and strange looking things were looking for symbolic equivalences that stand for simultaneous existence. At this point, heading for an ominous vagueness, she prioritizes the violation of an established perception and an experience of transfi guration. Moreover, she suggests new forms of relationships with organless bodies which have not yet become an object or a fi gure. More importantly, she enables this with the simplest and the most direct visualization. Contextualizing us into her seemingly meaningless spaces, she makes us witnesses of the discussion of or the relationship between absolute form and absolute dissimilitude. Th erefore, this critical approach towards already existing accumulation and production can be characterized as a study that conceptually evaluates the relationship between the envisaged fi guration and the realized experience. In essence, considering the image integrity which Gülay Yaşayanlar perceives as a sign, the emerging tempting vagueness of figuration is highlighted and the meanings and cases she implies are underlined. Her struggle generally encompassing a number of defi nitions garnered and formed beyond image by becoming independent in the quest of concepts and visualized thoughts has turned into a writing experience trying to ensure its own integrity.
Accordingly, the transformative aspect of the idea of visuality encompassed by image-object relationship is problematized and associated with the quality and logic of the fi ction emerging on the basis of language and narrative forms, which are means of expression. It should just be stated that this production continues to develop itself in a way to allow for new solutions. For the very reason, this experience of look that, on the one hand, focuses on the productions of the era for a period elaborates on the construction of seemingly unvoicable structure-format, but, on the other, tries to realize a similar production by using words.
MS
Istanbul - Izmir / July 2015
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