Above Images (1-7): Mono-signs, 2020, drawings on tracing paper, 100 x 70 cm.
In my paintings and drawings, I
depicture the cumulative effects of this time and what it has accumulated
through the transformation of architectural plans, waste products, geological
surface shapes and images.
In this process, using materials
such as pencil, charcoal and colored pencil, ink and acrylic paint. I transfer
schematic images of accumulated waste stacks onto the surface. At first sight
the image that evokes any nature representation is abstracted and transformed
of waste stacks on one another.
Drawing has always an important
role in my creative process. As a beginning, i develop some ideas on paper with
a series of sketching. I am making layers by using the images of geological
surface shapes that will create the time-space, by using waste-stack images
that will create landscape and movement. The symbolic use of surface shapes
attempts to make a reference to the political divisions on the continents and
the transience of everything with the natural. Formally utilized waste-stack
images have been transformed into artisanal produced as a resistance to the
mental way of the consumer society. That's why components such as elegant
handwork, effort and productivity are important to me. While discovering
similarities between these two distant concepts, I follow an abstract and
repetitive way. An image considered as a metaphor; due to multiple readings, it
should be approached with connotations. I identify the items that will refer to
the content on empty surface first. By using various mediums between each
layer, I ensure the dimensioning of the painting in itself. These initial
layers guide the narratives that appear in following addings of ink and acrylic
paints. Finally, mark-making drawings, is the last layer that completes the
flow of the composition with a gestural and instant action. I direct the viewer
to what we want to read with spontaneous signs that resemble organic schematic
representations. As an expression form of drawing provides an experimental and
instant transfer resulting from the freshest capture of the content and form.
Ink and acrylic paint provides speed. The lines turn into an organic ornament
on top of each other and side by side.
The psychological effect of my
paintings is a metaphor of the beautiful one that we desire to. The viewer has
also been freed with the distance of the my interpretation and has made it
possible to think intuitively.
Bio
Tuğçe Diri (1984, Eskişehir) graduated from Mimar Sinan Fine
Arts University, Department of Applied Lithography Atelier and Painting in
2010. The artist who opened her first studio in 2010, completed her MA in
Painting at Mimar Sinan Fine Arts
University with her thesis “Reflections of Traditional Arts
on Contemporary Turkish Painting.”. Besides working with different materials
including acrylic and oil paint, collage, fabric and rope, drawing constitutes
the backbone of her work, providing her an experimental field of production.
Recently, the artist has been depicting the cumulative
effects of this period / time and its accumulations by transforming
architectural plans and shapes of geological surfaces in her paintings and
drawings.
Diri lives and works in Istanbul.
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