Barış Cihanoğlu | Selected Bio Texts
2020 - 2019 - 2018 /17
2016 /15 - 2014 - 2013
Outlook Of A Sociological Book
Between Years 1994 And 2007 Cihanoğlu Continued His Painting Works Continuously; He Lived His University Period Like An Adventurous Urban Vagabond. Of Course Except The Times He Worked About Pictures In His Workshop.
He Was So Hard Working And Well Disciplined Like Saying Something Out Of Spite To Alcoholic,Idle Friends And One Night Stands. And Maybe He Was The Most And Serious Working Ones. And When Telling About This Period, It Can Not Be Imaginable Without Telling About The Workshop In Becerikli Street. The Workshop Near The Sakarya Which Is Famous With Its Bars And Clubs Was A Major Meeting Point For People For Many People Who Were Interested In Pictures Or Not. You Enter The Building By Saluting The Thinner Addicts And If You Could Find The Right Door In The Musty Building Without Lights, An Extremely Serious Young Painter Greeted You With A Brush In His Hand. He Was Calm,Lively,Dedicated And Well Cared. He Cared About Living In Order,Clean And Didn’t Smoke. You’d Have Met A Place In Contradiction With The Building. It Was Suıch A Rich Workshop Which Will Make A Carpenter Envy. He Worked There,Lived There And Hosted His Guests There. He Took Classical Renaissance,Especially Rembrandt As Teacher To Himself. He Didn’t Care About The People Who Said “Your Pictures Are Demoded And Academical ” And He Said “ I Do Academical Paintings, Because This Place Is An Academy”.
In A Time Everything New Is Applaused,And Avantgardism Was Overexaggerated,Barış Didn’t Care About Comments Saying He’s Demoded And He Continued Painting. He Just Watched The Fashionable One,Or Let’s Call It The Modern One.
He Doesn’t Build His Picture With Concepts And Hypothesis, He’s Just After A Strong Pattern Comprehension. He Didn’t Have Any Change On His Target In Fifteen Years I Knew Him. In Opposite, Barış Still Turns To Masters Of Figure Pictures ( Rembrands, Raphaello, Velazguez, Goya, Degas Etc. ) Even In Today.
In Year 2000 He Quit The Master Program And Dedicated Himself To Painting. He Earned His Life By Instructing Painting Lessons. Alcoholic Friends,Night Life Stayed Behind. He Tried To Prove Himself And Stand Up. It Was The Time Of “How You Can Make Money Out Of Pictures”. He Worked (Beautiful) Pictures And Built A Basis For His Own Pictures. Nudes, Landscapes, Portraits, Deadnatures And Any Kind Of Fantastic Object That You Can Imagine… This Seductive Romantism Continued Until 2001.
2001 Was The Year Which The Painter’s Creations’ First Examples Were Made. These Pictures Which Might Seem Extremely Surprising To External Viewers Were No Surprise To Me. Barış’s Extraordinary Past, Was Put Onto The Canvas Through The Depths Of His Absurd Memory. He Joined Exhibitions, Projects And Competitions. From That Day To Now, He Produced More And More. By Time His Productions Grew And Became Maturated.
In His Pictures Which He Reflected City Life And City People, Gigolos, Prostitutes, Squatters, Foundlings, Poor People, Ordinary Families Took Place In A Theatrical Atmosphere.
His Pictures Are Creations Of An Observed And Questioned Mind, Not The Eye Which Transmits The Instant Image. He Paints With His Soul. He Is A View Of A Wide Sight,Sociological Book. He Reflects Social Conflicts,Contradictions, Agreements But He Doesn’t Sacrifice The Picture For The Theme. He Builds Up The Mainframe Of The Picture Strong. Mostly He Doesn’t Give Credit To A Classical Perspective. He Uses The Perspective Like A Finger Showing The Direction To The Viewer; And By This,Viewer Enters The Picture, Escaping The Outerness Of The Single Focused Classical Perspective.
His Figures Have A “Multi Meaningfulness” Which We Saw Similar Examples In Magritte And Dali’s Pictures. For Example, When We Take A Closer And Observant Look To Blouse Of A Woman Which Should Have A Volume, We See That It’s Also Drawn As The Flooring.
All This Respectable Patient And Disciplinary Work’s Reason Is Not The Ambition Of Being A Great Artist. In My Opinion The Reason Lying Beneath Is His Deep Love Of Pictures And Deep Respect And Admiration He Has For Masters.
Between Years 1994 And 2007 Cihanoğlu Continued His Painting Works Continuously; He Lived His University Period Like An Adventurous Urban Vagabond. Of Course Except The Times He Worked About Pictures In His Workshop.
He Was So Hard Working And Well Disciplined Like Saying Something Out Of Spite To Alcoholic,Idle Friends And One Night Stands. And Maybe He Was The Most And Serious Working Ones. And When Telling About This Period, It Can Not Be Imaginable Without Telling About The Workshop In Becerikli Street. The Workshop Near The Sakarya Which Is Famous With Its Bars And Clubs Was A Major Meeting Point For People For Many People Who Were Interested In Pictures Or Not. You Enter The Building By Saluting The Thinner Addicts And If You Could Find The Right Door In The Musty Building Without Lights, An Extremely Serious Young Painter Greeted You With A Brush In His Hand. He Was Calm,Lively,Dedicated And Well Cared. He Cared About Living In Order,Clean And Didn’t Smoke. You’d Have Met A Place In Contradiction With The Building. It Was Suıch A Rich Workshop Which Will Make A Carpenter Envy. He Worked There,Lived There And Hosted His Guests There. He Took Classical Renaissance,Especially Rembrandt As Teacher To Himself. He Didn’t Care About The People Who Said “Your Pictures Are Demoded And Academical ” And He Said “ I Do Academical Paintings, Because This Place Is An Academy”.
In A Time Everything New Is Applaused,And Avantgardism Was Overexaggerated,Barış Didn’t Care About Comments Saying He’s Demoded And He Continued Painting. He Just Watched The Fashionable One,Or Let’s Call It The Modern One.
He Doesn’t Build His Picture With Concepts And Hypothesis, He’s Just After A Strong Pattern Comprehension. He Didn’t Have Any Change On His Target In Fifteen Years I Knew Him. In Opposite, Barış Still Turns To Masters Of Figure Pictures ( Rembrands, Raphaello, Velazguez, Goya, Degas Etc. ) Even In Today.
In Year 2000 He Quit The Master Program And Dedicated Himself To Painting. He Earned His Life By Instructing Painting Lessons. Alcoholic Friends,Night Life Stayed Behind. He Tried To Prove Himself And Stand Up. It Was The Time Of “How You Can Make Money Out Of Pictures”. He Worked (Beautiful) Pictures And Built A Basis For His Own Pictures. Nudes, Landscapes, Portraits, Deadnatures And Any Kind Of Fantastic Object That You Can Imagine… This Seductive Romantism Continued Until 2001.
2001 Was The Year Which The Painter’s Creations’ First Examples Were Made. These Pictures Which Might Seem Extremely Surprising To External Viewers Were No Surprise To Me. Barış’s Extraordinary Past, Was Put Onto The Canvas Through The Depths Of His Absurd Memory. He Joined Exhibitions, Projects And Competitions. From That Day To Now, He Produced More And More. By Time His Productions Grew And Became Maturated.
In His Pictures Which He Reflected City Life And City People, Gigolos, Prostitutes, Squatters, Foundlings, Poor People, Ordinary Families Took Place In A Theatrical Atmosphere.
His Pictures Are Creations Of An Observed And Questioned Mind, Not The Eye Which Transmits The Instant Image. He Paints With His Soul. He Is A View Of A Wide Sight,Sociological Book. He Reflects Social Conflicts,Contradictions, Agreements But He Doesn’t Sacrifice The Picture For The Theme. He Builds Up The Mainframe Of The Picture Strong. Mostly He Doesn’t Give Credit To A Classical Perspective. He Uses The Perspective Like A Finger Showing The Direction To The Viewer; And By This,Viewer Enters The Picture, Escaping The Outerness Of The Single Focused Classical Perspective.
His Figures Have A “Multi Meaningfulness” Which We Saw Similar Examples In Magritte And Dali’s Pictures. For Example, When We Take A Closer And Observant Look To Blouse Of A Woman Which Should Have A Volume, We See That It’s Also Drawn As The Flooring.
All This Respectable Patient And Disciplinary Work’s Reason Is Not The Ambition Of Being A Great Artist. In My Opinion The Reason Lying Beneath Is His Deep Love Of Pictures And Deep Respect And Admiration He Has For Masters.