- 2 - STYLE AHD DIVISION Before starting a painting, I live a preperation pe riod, in which I obtain the necessary photograph and the other materials. A figure may be appropriate in a magazi ne I looked, or I make theoretical explorations as a re- ferance in order to find the figure created in my mind. My referances are the fashion magazines and men magazines in which I can easily find a large amount of material as nude. After finishing the referance and medium step, when I start the co&age step that creates my drawings, I app- licate a composition appropriate to my thought. The de velopment of oqJLage in the direction that I want, is done wiht the stylisation of elements and the application of elected materials appropriate to my thought, by me. When I create the style, as it is done in Matisse, I prefer making design method with scissors, to tear and fold met hod. The reason for this is that I want certain and hard lines in my compositions. These cut ted pieces may be re- ady-Biade, or I may start to a number of experiments, weigh ing thought and sensation. To establish the balance of my compositions is done with the election of fundamental elements, or sometimes I interfere with these forms with a variety of techniques, such as pencil, oil paint and paint. The reason of my working by using a mixture of tech niques is by obtaining a variety from the plastic point of view, to reach the frontiers of new conception. Thus, by giving a new label to the espas, I can obtain new dis tances with the contrasts among the materials. When a certainty is obtained in the composition drawing, I fix the colage by fastening it to the ground* Although this position of drawing is still the beginning for my pictu res, since the dimensions of the picture and the neceeai-- 3 - tat es of its materials will be different, the drawing is only a referance for the picture* After these steps, I make my pictures on a tual. The materials that I used on this surface, contains oil paint, pencil and plastic pa int. As it is done in my oolage, I prefer a variety of materials since it enriches the espas. The adventure of collage starting with the cubism in 1960*s, became contemporary again with the Pop Art, The communication medium, such as television, radio, newspa per, magazines and the others supported the development of this movement, termed by `Pop Art` with an unpreceden ted participation in any other art movement. Because, Pop Art was not only warrior, by also an entertaining movement. In addition, communication medium were seemed as the fat her of the `Pop Art`. The Pop Artists were using a mixed style on purpose. Since being logically consistent in a work of art is giving a certainty and precision to the art, it may be an helpful peculiarity. But, if all the possibilities of creation are lieing down in front of an artist, this does not necessitate for him to select only one out of the others and leave rest of them. Pop Art is an invitation done with a critical legic ? : order to dis cover the communication styles. In the wesc, it is seen that the communication enviranment is being tried to be attractive for the western eyes. The artistical resmlt of this is that figuration beoome normally adapted in the le ading environments. Thus, a great amount of ?op artists concerned with the more or less explanation of different varieties of realism. Pop Art is jeîned with a new picture movement termed by »Photo realism`. Most of the artists interested with this movement, takes the photo of their own environment and transfer it to the tual and finish the picture under the control of the created image. These are, at the same time, the pureist natural pictures that can be made. When this kind of pictures is done, the inputs are the richness- 4 - of the fudges related to the artiste. These judges making consciously or unconsciously are joined with the visual inputs that their varieties are kept with the helpnes of the image transferred to the tual. The artist making the comment on the photo in his hand, add somethings to the picture he done from his personalily and when he is trans ferring the photo to the tual, he is liberal to work on his picture in any dimension he wants. At the pictures of the photo realists, the subjects that they choose, show the same peculiarities. Advertise ment boards, shop windows, ordinary buildings and cafete* ries are the subjects. Some artists in this group, are be ing attracted with their portrait and figures in great dimensions. The photo realistic style makes us to leave our desi re kneading realism with subjectivism and makes us to comp rehend it from the beginning. Some peculiarities from these 2 movements that I im li ed, can be seen in my pictures too. But, I can not say that all of these are reflected to my pictures as a style, I do not use magazines and advertisement photographs, in Pop Art; the transfering of the figure that I used in my pictures, as being realist, is related with photo realists., I want to talk about the compositions and relations of my pictures at the following. I choose woman as o subject in my pictures. As I talk ed before, in figure elimination, I use magazines, fas hion and men magazines. The woman figures that I choose are nude. Thus, I can easily find a contemporary material, I enlarge the woman figures as long as it covers the tual. The reason of this, is to obtain a great surface that I use as an harmony. On the other hand, my choosing of woman as a subject has no meaning as a symbol or an offset, I talked that it was an easy material, and the second reason is that, I like the plastic esthetics in the nude woman- 5 - figure. When I transfer the woman figure to the tuel, re alistically, I can obtain this esthetics more precisely. Thus, the fora that I want to give organically, has more effective meaning. When I transfer the woman to the tual from the pose in the magazine, I think that I change the presentation. But I do not change her b :ing a visual ma terial that has been for centuries. I think that, this form t he t continuosly become as a media has obtain a fi gurative meaning in my pictures. I appraise the balance of the figures in the general composition of the picture. My figures are in the front ali zed and stafnant poses. The reason of this is born from ray desire of mixing it with verticals that I used geometrically. I can appraise these geometric surfaces with side by side and one after another plans î and also it takes its place in my picture as an im portant element that makes me to obtain espos. The geaeral colour harmony in my compositions are always important for me. Since I like colour very much, I can lend colour to the black and white figures or to their natural ekin co lour area for the harmony and I give a nonphyschologic style that can be paid attention again to the figure that we used to watch everyday. I sunmarize the steps of my compositions ar in the fol lowing} geometric + realist + abstract. At the last step of ray pictures, I interfere to the figures or on some geo metric forms with keys. These keys are never in an expres sionist style. Because, I always determine the harmonies and their directions and make a limitation that how much and where I use. Sometimes, I think these keys as a compo sition element, even thought they are natural. The reason of using keys in my picture, is thinking relatively to the organic figure. On the other hand, the different working techniques and the contrasts oc cured on the surface of the picture is a result that I want.
