I paint without thinking of a theme in the beginning. Just like doing explorative experiments as usually we don’t know whether our model or hypothesis is true till we do the experiment. So I let my subconscious to dance on canvas and play with colors and textures. Then I try to put my paintings “in a context” just like making a scientific story based on our experiments and publishing it. In science, to make sure our hypothesis holds true, we try to test it in multiple different ways and each time explore more and try to discover a bit more to get a better understanding. This is exactly how my paintings evolve! If I am painting a theme in several paintings subconsciously, then I realize it and explore that theme in several other paintings just letting my subconscious and my curiosity to play. And this is how my series arise.
When I started painting a year ago, my mind was so busy and I was just filling the whole canvas with so many things and it took me a while to realize that there is no focus point to look at or any space left on canvas to breath in and appreciate the painting. Then I started to wipe some parts of the canvas, creating some empty space for our eyes. In middle school our painting teacher once told us while we were trying to draw a vase that is full of flowers, “pay attention to the empty space between flowers, the empty spaces shape the objects”. Years later when I was reading some tutorials for painting, I learned that those empty spaces are called as “negative spaces” or “breathing rooms” for paintings. I like the “breathing room” obviously better and in my paintings I wanted to make the so-called “negative space” one of the main characters of my paintings.
I combined breathing rooms with different elements of nature, flowers or abstract jungles are rising up in spite of the flow of gravity. I also like balancing abstract curves in my painting just like balancing pebbles.
Why do I paint abstract?
Because abstract paintings constantly evolve in our minds. If it is really beautiful realistic painting, like a really beautiful, relaxing but realistic landscape, you look at it several times and then you don’t look at it again because you know exactly what it is. I am trying to paint something that is interactive and stay interactive. What you see and feel special to you and different than any other person can see and feel. It is your window.
Photograph by Peter Walter.
