Mehmet Murat Güneş

Wood and Iron Materials

Mehmet Murat Güneş

(2017) Hochschule für Künste Bremen Freie Kunst (BA)

(2013) Dokuz Eylül University, Institute of Fine Art , Division of Art and Design (MA)

(2013) Dokuz Eylül University, Faculty of Fine Art , Department of Painting (BA)

Selected Solo Exhibitions

2015, “Bir sergi”, Narlidere, İzmir, Turkey
2014, “İnsan Gerçekten Hayret Ediyor”, K2 Rezidans, İzmir, Turkey

2012, “Mükemmel Düşüş”, DEU GSF Çatı, İzmir, Turkey

Selected Group Exhibitions

2018, “Atmosphärisch Instabil”, Tete Gallery, Berlin, Germany
2018, “Say Shibboleth”, Galerie Oqbo, Berlin, Germany
2015, “25th International Istanbul Art Fair”, With Karşı Sanat Çalışmları, İstanbul, Turkey 2015, “Fotocopies” by Curator Firdevs Kayhan, AASSM Art Center, İzmir, Turkey
2014, “Port İzmir” 3 by Curator Sasa Nabergoj, İzmir, Turkey

Statement

One quality one always makes itself evident in any case; that there is no necessity of explaining the good and beautiful art work. It has its own language; it’s self-explanatory. The most profound thoughts are the ones that cannot be expressed. It is the way of approach I would like to reach in about my work and I will try to explain why and for what I am working as much as I can.

Today there is no distinct description of “art”; it has lost its main point while desperately and wearily endeavoring to find itself a proper description, I still believe in the fact of art’s mightiness, impressiveness and profoundness and that it is able to produce works which are self-explanatory. Probably because I started asking questions about art and seeking answers from my childhood days, it is very important for me to acknowledge “what is art?” and “why it has no distinct entity.”

I want to see art with its absolute freedom and grandeur because art’s definition is actually reflected in our lives. As much art is resolute and significant, we are as much resolute and significant in our lives. Art reflects what we are in society and saying a decisive statement and this statement’s becoming a mutually understandable language entirely require a society which is politically, sociologically and economically stable.

I cannot interfere such big loops and as a consequence, I do not believe that contemporary art can be interfered through the chaos of definitions and languages. Asking a question about the problems of art just to take a credit, I believe, makes everything even more problematic. In this manner, seeing people such as Neo Rauch who do their work with such devoutness and willingness is very encouraging. I do everything I can to comprehend the situation both intellectually and practically. I never started a project I felt insincere about; because challenging situations can be overcome with utter belief. In terms of my work, without putting any boundaries, I use every single material that I can feel and recognize to create a harmonic integrity. These materials may be paint, water, soil; and the transformation of these materials are determined by the nature of them. The materials and techniques I choose differ; but you may consider this as a circle shrinking until it forms a definite, common point. I am trying to create a form where I can use such techniques of expressions together more effectively.

Let’s think how people differentiate between lie and truth or good and bad. For instance, someone tells you “I love you.” How do we test its authenticity? In the same manner, how do we recognize the truth of the artwork we encounter? I think we cannot test the authenticity of contemporary art but nevertheless a person or a job can affect us for something we cannot understand. I believe it is the “sincerity” of it. As a consequence, I predicate on a definite simplicity and even primitivism. Things that grab us from our very basis; like conveying a remembered memory onto a wall with a coal pen is such a primitive performance. It was a sustained experience for me creating a dome woven with pruned tree branches and only with the power of my hands and I am asking in the meantime where and how art should be. A minimal temple made of mud in the middle of a field symbolizes the beliefs abandoned in the past and at the same time symbolizes our modern solitude and desolation. I am writing on the soil to describe or get rid of the coded images that take up space in every aspect of life. Apart from those, my purpose is to produce a comprehensible and high quality statement. Of course this is something that takes years but for now I am continuing doing what I can already do; continuing to produce and through this production trying to understand myself. Trying to get one step further and to produce a slightly better than before.

+4915788532232

mehmet_murat_gunes@hotmail.com

Weitere Projekte von Mehmet Murat Güneş

Back to Mind

Land Art

View of Sketchbook

Greek House

Oil Paints

Stratum

Untitled

Kubbe