REPRODUCTION OF THE MARIGINAL FORM IN A TRAJIC CONTEX
by Mümtaz Sağlam
Gülay Yaşayanlar, in the days of the epidemic that continues its impact on a global scale; produces symbolic forms with a skeptical and nihilistic attitude; makes some accusations and warnings with a pathological statement. It appears with a typology reminiscent of the limbs of the inanimate body, and rapidly shifts to a negative space that contributes to the narratives of crisis and fear. In the series he named Heart and Chest Pulse, which pioneered this change, he draws the images that he highlights as the basic representation form to the center; uses them as key indicators of insecurity and anxiety.
![Sketch; #6, 2021, Acrylic Ink on Paper, 36x28 cm.]()
![Chest Pulse; #41, 2020, Acrylic Ink on Paper, 36x28 cm.]()
![Surface Images; #7, 2021, Acrylic Ink on Paper, 36x28 cm.]()
For example; The image, which resembles the heart and forms the picture by itself, is presented as a basic form/structure that symbolizes the incompatible and restless, sick or defective. It is like a tired, lifeless, colorless and cut corpse, as it consists of the surface remnants of a psychological sounding. It points to a radical change in content; becomes the main metaphor, unchanging face and symbol of a new view. This frightening visceral vision, which almost directly evokes death, seems to have an effect that naturally reflects the periodic spirit and spreads sadness and gloom to the environment. This image, which is the starting form of the new production process, mediates the emergence of new mental forms on the surface as it gets details; in this context, it associates anatomical data with a public trauma, accompanied by current developments. Through a developed prototype, we draw our attention to the feeling of victimization and emotional intensity caused by a great state of closure. For this very reason, it is possible to characterize the series paintings Heart and Chest Pulse, which we encounter simultaneously with the epidemic, as an aesthetic form pointing to a clear state of social insecurity and the reality of isolation.
morphological extensions that create a state of limitation
Chest Pulse series images are characterized by truncated structures fringing at the top of the form. This dynamic abstract form seems to reflect another indefinite and inanimate anatomical element. Presenting an iconic image with its general stance, it has an effective dynamism of formation that adds tension and rhythm to the painting order. Here it is developed as an archetype, in a state of change that somehow shakes itself and defines it as a new being. Therefore, with the frequent repetition of this image and its shrinking and growing, the painting surface makes us feel that we are in front of a narrative that is dragged into a representation that reflects a troubled spirituality. These elements are as if the products of a culture of objection to the forms of domination and threat perception directed against us by biopolitical assumptions.
In this formatting, space is rapidly opening up for different stories that do not lose their current dystopian context: Surfacing Images and the new series called Glamour are undoubtedly narrative experiences established through new symbolic forms with an abstract and systematic understanding. Similarly; as well as a balancing game developed by the artist against many evil things, it also reveals the field of observation. Well; The parts of the limbs, developed as the symbolic counterpart of traumatized, threatened psychologically pruned, injured bodies, and embodying fear with a realistic look and feel, are brought here for visual use. These highly individualized forms in an objective sense are the counterpart of the meanings that Gülay Yaşayanlar produces for daily life fed by the culture of fear.
mysterious structures that appear on the surface and seek form
On the other hand, the visuality unfolded before us here is a product of looking at the vital elements lost in a confrontation in imaginary space. Gülay Yaşayanlar tries to establish this representational relationship on frightening organ depictions and queer / dirty surfaces. Therefore, the dirt that appears on the surface, blood clot; it directly points to decay and all kinds of loss. Resolutely rendered, this iconic image is dedicated to the general sense of distress and fear. It evokes a wounded body, becomes ambiguous as it stacks on top of each other, reinforcing the sense of restlessness and anxiety.
These pictures, especially in the series titled Surfacing Images; They are the more dimensional products of a practice of symbolization and etching that expresses a general unease and prioritizes waste visuals. Abject is the basic concept that has an impact on the evolving formatting here. This reference, which shapes the view towards the dirty, rusty and defective as an idea, can be shown as the determinant of a current and realistic interpretation. In this respect, an imagination that satisfies all kinds of distancing (distance) or anxiety and delusional moods caused by qualifying life under various threats, living under risk should be considered realistic with strong justifications.
![Surface Images; #4, 2021, Acrylic Ink on Paper, 36x28 cm.]()
!["Glamour", #28, 2020, Acrylic on Paper, 56x76 cm]()
Gülay Yaşayanlar, who has come to the brink of an opening provided by the current visual language possibilities in her series titled Glamor and Surfacing Images, is now in search of developing a basic carrier form in a larger area. Body extension connections covered in the Abject are reinterpreted in accordance with the demands of the aesthetic that the new visual order seeks (or reaches). While the disclosure closure/display and citation preference contributes to the visual integrity of the picture, the net links seem to have been canceled again. Imagination is decisive here; It has a function that creates a body with basic structure repetition and then loads it with provocative, irreel or queer connections. In a way that we can define as an “internal space creation practice” that completes the picture; emphasizes the stripped and excavated distinctions as a new event occurring on the surface. This holistic effect, reminiscent of Palimpsest, reveals the visuality produced by a fluid shaping between hesitation and certainty.
The lineup called Glamor and Surfacing Images actually constitutes the last phase of Gülay Yaşayanlar's art production, which is still ongoing. And here, it is seen that the reactive expression, which we present as a reason for continuous structuring, is replaced by a production approach that idealizes the form and takes the expression to a more conceptual level. In fact, this view, which preserves the basic dynamics of the current understanding, should be described as a formal change that makes the emphasis on palimpses more evident. This gradual determination, in which psychic connections are felt more intensely, is directed by the damaged image, which is the product of an action that connects its existence to an act of erasing. Moreover, this image that is appropriated; It is achieved by melting the elements included in the painting field according to a queer imagination full of abnormal characterizations. After all, the magnificent array of these pictures; It clearly shows that it has evolved into an advanced topographical solution with a self-confidence reflecting the search for a new visual project.
Mümtaz Sağlam, Copyright © 2021, All Rights Reserved.
by Mümtaz Sağlam
Gülay Yaşayanlar, in the days of the epidemic that continues its impact on a global scale; produces symbolic forms with a skeptical and nihilistic attitude; makes some accusations and warnings with a pathological statement. It appears with a typology reminiscent of the limbs of the inanimate body, and rapidly shifts to a negative space that contributes to the narratives of crisis and fear. In the series he named Heart and Chest Pulse, which pioneered this change, he draws the images that he highlights as the basic representation form to the center; uses them as key indicators of insecurity and anxiety.
For example; The image, which resembles the heart and forms the picture by itself, is presented as a basic form/structure that symbolizes the incompatible and restless, sick or defective. It is like a tired, lifeless, colorless and cut corpse, as it consists of the surface remnants of a psychological sounding. It points to a radical change in content; becomes the main metaphor, unchanging face and symbol of a new view. This frightening visceral vision, which almost directly evokes death, seems to have an effect that naturally reflects the periodic spirit and spreads sadness and gloom to the environment. This image, which is the starting form of the new production process, mediates the emergence of new mental forms on the surface as it gets details; in this context, it associates anatomical data with a public trauma, accompanied by current developments. Through a developed prototype, we draw our attention to the feeling of victimization and emotional intensity caused by a great state of closure. For this very reason, it is possible to characterize the series paintings Heart and Chest Pulse, which we encounter simultaneously with the epidemic, as an aesthetic form pointing to a clear state of social insecurity and the reality of isolation.
morphological extensions that create a state of limitation
Chest Pulse series images are characterized by truncated structures fringing at the top of the form. This dynamic abstract form seems to reflect another indefinite and inanimate anatomical element. Presenting an iconic image with its general stance, it has an effective dynamism of formation that adds tension and rhythm to the painting order. Here it is developed as an archetype, in a state of change that somehow shakes itself and defines it as a new being. Therefore, with the frequent repetition of this image and its shrinking and growing, the painting surface makes us feel that we are in front of a narrative that is dragged into a representation that reflects a troubled spirituality. These elements are as if the products of a culture of objection to the forms of domination and threat perception directed against us by biopolitical assumptions.
In this formatting, space is rapidly opening up for different stories that do not lose their current dystopian context: Surfacing Images and the new series called Glamour are undoubtedly narrative experiences established through new symbolic forms with an abstract and systematic understanding. Similarly; as well as a balancing game developed by the artist against many evil things, it also reveals the field of observation. Well; The parts of the limbs, developed as the symbolic counterpart of traumatized, threatened psychologically pruned, injured bodies, and embodying fear with a realistic look and feel, are brought here for visual use. These highly individualized forms in an objective sense are the counterpart of the meanings that Gülay Yaşayanlar produces for daily life fed by the culture of fear.
mysterious structures that appear on the surface and seek form
On the other hand, the visuality unfolded before us here is a product of looking at the vital elements lost in a confrontation in imaginary space. Gülay Yaşayanlar tries to establish this representational relationship on frightening organ depictions and queer / dirty surfaces. Therefore, the dirt that appears on the surface, blood clot; it directly points to decay and all kinds of loss. Resolutely rendered, this iconic image is dedicated to the general sense of distress and fear. It evokes a wounded body, becomes ambiguous as it stacks on top of each other, reinforcing the sense of restlessness and anxiety.
These pictures, especially in the series titled Surfacing Images; They are the more dimensional products of a practice of symbolization and etching that expresses a general unease and prioritizes waste visuals. Abject is the basic concept that has an impact on the evolving formatting here. This reference, which shapes the view towards the dirty, rusty and defective as an idea, can be shown as the determinant of a current and realistic interpretation. In this respect, an imagination that satisfies all kinds of distancing (distance) or anxiety and delusional moods caused by qualifying life under various threats, living under risk should be considered realistic with strong justifications.
Gülay Yaşayanlar, who has come to the brink of an opening provided by the current visual language possibilities in her series titled Glamor and Surfacing Images, is now in search of developing a basic carrier form in a larger area. Body extension connections covered in the Abject are reinterpreted in accordance with the demands of the aesthetic that the new visual order seeks (or reaches). While the disclosure closure/display and citation preference contributes to the visual integrity of the picture, the net links seem to have been canceled again. Imagination is decisive here; It has a function that creates a body with basic structure repetition and then loads it with provocative, irreel or queer connections. In a way that we can define as an “internal space creation practice” that completes the picture; emphasizes the stripped and excavated distinctions as a new event occurring on the surface. This holistic effect, reminiscent of Palimpsest, reveals the visuality produced by a fluid shaping between hesitation and certainty.
The lineup called Glamor and Surfacing Images actually constitutes the last phase of Gülay Yaşayanlar's art production, which is still ongoing. And here, it is seen that the reactive expression, which we present as a reason for continuous structuring, is replaced by a production approach that idealizes the form and takes the expression to a more conceptual level. In fact, this view, which preserves the basic dynamics of the current understanding, should be described as a formal change that makes the emphasis on palimpses more evident. This gradual determination, in which psychic connections are felt more intensely, is directed by the damaged image, which is the product of an action that connects its existence to an act of erasing. Moreover, this image that is appropriated; It is achieved by melting the elements included in the painting field according to a queer imagination full of abnormal characterizations. After all, the magnificent array of these pictures; It clearly shows that it has evolved into an advanced topographical solution with a self-confidence reflecting the search for a new visual project.
Mümtaz Sağlam, Copyright © 2021, All Rights Reserved.
2022 - All rights reserved.