Sanat Eleştirmeni Lütfiye Bozdağ
ELEŞTİRİ
Sanat Eleştirmeni Lütfiye Bozdağ, 22 Kasım 2014
İSTANBUL

Kadir Akyol: Image as a Phenomenon

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Kadir Akyol forms a relationship between the juxtapositions of the past and the future as well as the modern and the traditional within the concept of “image as a phenomenon.” In Akyol’s paintings, image appears to be a phenomenon above its real meaning and the traditional similes. 

Irrelevant images like media-lace-portrait coming together on the same platform and form a relationship based on opposition helps to form a new reality. While “being itself”, this new reality breaks its own actuality through the opposition of the images and gives way to new stories. The relationship between power and authority is interpreted by the media-lace-portrait triangle. Akyol’s use of lace motif in his paintings is a reference to the East-West synthesis. By means of the starting mode of the State TV with a single channel, he refers to the media, which has great influence on the authority of the State. 

The artist refers to the power structure in all platforms involving social, political and cultural pressure on community through digital images reflected on portraits. The family members Akyol takes into his paintings with their traditional clothes can be considered a description of the East as an essentialist manner in thematic form. The artist in search of the truth beyond East and West opposition, questions the identity of the family members and the geography they lived in, based on Gramsi’s detection in “Notebooks from Prison”: the beginning of critical maturing is what one is in reality. Akyol forms his portraits in photorealistic rationalism. He seeks the relation between culture, power/knowledge and change. The power is constructed as a universal and ruling authority through media. Other people and cultures are considered to be against norms. 

In Kadir Akyol’s portraits starting mode of the state TV channel, while imaging the norm, combines the eastern characters with traces of tradition along with lace designs that also represents traditional culture. Starting mode of the state TV in the background, while propagating and generalizing the norms, alienates the non-conformist criticism of internal orientalism. We face the digital’s hardness and coldness with portraits outside the norm, questioning their true self under the scope of authority / power relationship. Our lives are occupied by new technologies, we can judge how TV’s digital coldness and the traditional/warm image of handmade lace have become strangers to one another, how modern and traditional stand across each other in great tension with striking irony. The artist on one hand, uses his family members as digital representation of human images, while covering them with lace motifs, creates a new typology that questions the representative qualities of tradition. 

The artist’s portraits in this typology deciphers the power structure riddled with social-cultural, political and ethnic tensions while media-lace-portrait triangle forms a new analysis by creating a new post modern relationship platform. The artist on his canvas brings forth the distance between the modern and the traditional, the transformation of handmade lace into the mechanical senselessness of digitalism and foreign pornographic images, leading to new questions and the search for new meaning in a post-modern world.

 

Photos ©
Kadir Akyol, Emo, Oil on canvas, 2014, 125x150 cm
Kadir Akyol, Merve, Oil on canvas, 2014, 120x140 cm




Kadir Akyol: Image as a Phenomenon

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YASAL UYARI! (Telif Hakkı ©)

Telif hakkı yazar ve sanatçıların yarattıkları eserlere sahip olma hakkıdır. Bu site üzerindeki tüm bilgi ve görsellerin kullanımı için sanat.burada.com.tr’nin izni gereklidir.

Bu görselin telif hakları korunma altındadır.

© COPYRIGHT

Kadir Akyol: Image as a Phenomenon

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