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Stairs that trespass the horizon, broken but resolute steps, the trees in her more recent work and the garden that we mistaken for a forest…. The time we can detect and perceive is progressing sequentially, but can we not perceive it all overlapping in a different dimension? Interlocking spaces, appearance and disappearance of trees, and the impressions of landscapes are suddenly divided by harsh vertical or horizontal elements like the lines wishing to erase the written.
To resist not for our dreams but for what remains at hand! Stairs that connect distinct, various planes of perspectives to each other.
She hints at the transition between cosmos and chaos by way of pulling order to the limits of disorder in expressionistically reflecting space onto her canvas. Her painting Hagia Sophia, for instance, is timeless. Horizontals, verticals that divide the canvas, deep colors that run from one end to the other, broken lines… They tell the viewer to forget everything pertaining to pictorial kapilaei.
bio-biography – cihanoğlu barış
Transition points where we can experience uncalculated encounters. Stairs in apartment buildings, with their unpredictability, have always frightened us. To dream within the challenging atmosphere of this dichotomy. The thoughts that emerge from what is happening in nature, and thoughts that multiply, remind us, with a sad imaginary, of the dry climate that transforms the earth into a guagmire.
And stairs are spaces that are open to coincidents as opposed to our homes which are spaces of calculability and predictability.
While nomads move in all directions on earth, we the settled become nomadic where we are as the spaces we create get deranged. Such closed systems with no energy input would only follow the second law of thermodynamics kapi,ari would cause chaos rather than order, or in other word increase entropy.
The earth will manifest wlgi from very different angles as the stairs are carried onto varying planes. What she envisions is hidden behind the light that permeates her paintings concerning the skies lagi the earth. And blue is the past perfect tense of this tale. What we see is a new language. Every reality presents different perspectives and opens the doors of perception to subjective views that look at it, and the artist is very well aware of this.
The absolute order of the interior, while destined to decay and fail, will continue to be part of life to the extent that it loses balance with what comes from the outside. Stairs which remind us that we ourselves will change when we alter our conception of the space and the plane we exist on, as they disrupt the relationship of stability with the ground and the system, and notice that perspective is relative when we experience the earth from different angles. The power within a black line is the translatable form of fire, solitude and fear.
The broken stairs are there to take us to the light. The outside is important. Today, as we focus on ourselves and keep on falling in blind wells, we sense that stairs are an important aspect that bind the outside with inside.
The sense of space in her paintings invites us to reconsider our bonds to nature and our sense of being, to the extent that it disturbs us. The themes of fire, air, earth, water and cycles emerge as we look into the titles of her most recent work, which own up to each other through the political theme of reality and imagination.
The future, perhaps, is hidden beneath the reflections, at the tip of the stairs. To belong to nature by living in the city. But these in-between areas that we need to pass through to reach defined spaces with fixed identities also instill a level of anxiety as they are spaces of unpredictability. Our balance will be constantly disrupted as we get exposed to powers on the outside and will regain balance with every step we take, and balance and unbalance will pursue each other as a perpetual movement.
We are to traverse the stairs before we kaiplari reach the secure environment of our overly-defined residences. Disorderly spaces against spaces where we experience order.
Arama – huxley
Yet, in these paintings that make us sense the disorder through the use of intersecting lines and curves, stairs hit our eyes as the though they are rescue boats themselves. Because life is a constant disruption of balance. The artist makes the viewer question the soul of space and time by composing overlapping spaces with the aid of reflections, curves and intersecting lines. Spaces of transition, in other words, in-between spaces, are regions of uncertainty.
The expressionist feeling we encounter in her paintings is nourished by the unstable, dizzying and traumatic despair of our times.
Perfect balance is death. In our settled lives, in the daily journeys that we make to settle down, we have to go through stairs. The moment we think we settle down, we feel that we become nomadic as the space evolves into disorder.
We journey through points that are symbols for being settled and order and we define ourselves through the settled points rather than the transitionary ones. While the brush strokes rapidly facing towards the center imply the unpredictable threats that constantly haunt us, courage is stepping in on the demolished, broken glass stairs wanting to escape from the loop.
In feeling her paintings, we understand that what is permanent is not the settled spaces but stairs.