Barış Cihanoğlu | Selected Bio Texts
2020 - 2019 - 2018 /17
2016 /15 - 2014 - 2013
SAD BUT PLEASE COME IN!
Barış blemishes the structure of the reality’s fiction, ironically with the reality itself. The scenes he handles with a strong sense of figure and pattern are the reality itself or the opposite. He continues picturing the crowds. He shows the “desolates in the crowd”. He narrates tales about people. Little bodies flopping in the life’s daily routine…
Officious, anxious, brisk for the self… Ugly ones with beautiful insides,and beauties with ugly insides…
Barış has a style that will tak ehim to the place he tries to reach measurelessly with his instincts and he paints without having the worry of repeating. With this aim, some of the images he used are replaced by others. Since his personal exhibition he performed in 2007, leaving the idea of emulating the reality, he improved the accent of the theatrical side of his compositions. So here it is, a single scene life game, served with masks on faces; a show!
Barış Cihanoğlu, gives the feelings that he wants to give with shape, by making the look find it strange. He explicates the line personally and makes thick contours, reveals the form more, and so his expertise in the pattern. Pattern comes first, more important than oil painting and the color. By his expression, he paints with an apprehension “thinking with the pattern, colouring the pattern”. And his act of not being realistic in the choice of colors, is the exact opposite of the shocking reality of expressions of the anatomic figures, mimics and stances. The narrated thing is in the ordinary of the daily. This combination has an unnoticeable impact on the viewer at first sight.
Brush strikes are determinant in the scenes he fictionalizes with the same color’s tones. With the strikes flowing in the opposite direction, he makes the viewer realize the contrast. Some areas which seem to be painted crude or casually actually points the spot where the process will end. From place to place he engraves, erases, repaints ; corrupts. Maybe he covers a composition that he didn’t like before but it’s a fake coverage. The sub layer lives in the composition as shadows. While the observing eye is trying to write the story with the clues from the upper picture’s awareness, he/she is obliged to dig the surface like an archeologist. The deleted exists even with its absence.
He moves with the references he got from the history of art,consciously in the aim of getting beyond what’s caused him to learn by heart. This is a very hard way for the understanding which couldn’t leave figure. But Barış, so to say has put his heart to this.
In his paintings, the concept of game is a simple contact to life itself’s game likeness. A game of life and death! In this case, at most the guy’s woman that he made a toy and carry in his hand, is his wife. And no one knows while you’re trying to write the story in your head where does the game card come from in a composition of armed, and black sunglass wearing guy and a character who you never know what’s he/she doing there,maybe a tribute to life’s game likeness or being a gamble
Complicated relationships are hard… A naked and shabby woman, and a guy with a large moustache molesting her by hand in front of her and a cynical guy’s shadow behind her… Confusion which can be clearly read from her face, and an expression of helplessness… The game card is there again… Sheepish people’s tragedy on the scene !
A picture inside the picture. Dilemma of the woman looking at the picture. The third eye observing her. We’re all pieces of the same paradox!
Disjointed from each other but gathering in the same composition,figures touch each other jauntily. Hands reach from beneath. In some scenes even the hands’ owner is anonymous, whose hand, on whom !
Barış’s main aim is to paint more than telling about something. He makes the picture and he is always watching you aside. Maybe he is satisfied with anxious faces. “The tale told there is yours!” Although he doesn’t have an aim to dictate, he already entered the inevitable narration of the existent ,by painting the picture. With a tribute to Jean Baudrillard – His real subject is not that he painted, it’s the act of painting itself. He paints just because painting is necessary.
He pushes back the worries of being liked and being adored, he stands by his intimacy until the end. He doesn’t care if it fits or not,and he tells that too! This intimacy of his words while he’s explaining te reason of his behhavior is an intimacy which is connected to his style and similar with his character. Besides social inconveniences, personal obsessions, restrained sexual desires, subconscious discomforts hidden in the details, opens endless areas to those who know how to read it. He shows those areas which need courage to enter without hesitation. He doesn’t care about where he’s going, he arrives at his destination, and he will.
Rather than being loved and admired by the majority, he wants to be “held” fanatically by the minority. And he believes that nature of art has the massive power to create it, with all his heart. He cares about the concept “cult” which appears in our minds “positively” rather than that today which’s changed by cultural codings,to describe “negative”. He chases an art to be a “cult”. In this meaning of cult, there’s no mean of being funny. Without making it funny, owning the “local mouth” his voice is a voice from inside. I formerly described him with the words “Barış’s pictures calls back the tragic one, while showing the small and selfish lives caught in the daily and routine, alienated subject, routine, insensitivity with the exact opposite of lively colors and big moves”. He stil has the courage to say that “life is full of pain” without hesitation and he calls you to the stage.
Elif Dastarlı
Barış blemishes the structure of the reality’s fiction, ironically with the reality itself. The scenes he handles with a strong sense of figure and pattern are the reality itself or the opposite. He continues picturing the crowds. He shows the “desolates in the crowd”. He narrates tales about people. Little bodies flopping in the life’s daily routine…
Officious, anxious, brisk for the self… Ugly ones with beautiful insides,and beauties with ugly insides…
Barış has a style that will tak ehim to the place he tries to reach measurelessly with his instincts and he paints without having the worry of repeating. With this aim, some of the images he used are replaced by others. Since his personal exhibition he performed in 2007, leaving the idea of emulating the reality, he improved the accent of the theatrical side of his compositions. So here it is, a single scene life game, served with masks on faces; a show!
Barış Cihanoğlu, gives the feelings that he wants to give with shape, by making the look find it strange. He explicates the line personally and makes thick contours, reveals the form more, and so his expertise in the pattern. Pattern comes first, more important than oil painting and the color. By his expression, he paints with an apprehension “thinking with the pattern, colouring the pattern”. And his act of not being realistic in the choice of colors, is the exact opposite of the shocking reality of expressions of the anatomic figures, mimics and stances. The narrated thing is in the ordinary of the daily. This combination has an unnoticeable impact on the viewer at first sight.
Brush strikes are determinant in the scenes he fictionalizes with the same color’s tones. With the strikes flowing in the opposite direction, he makes the viewer realize the contrast. Some areas which seem to be painted crude or casually actually points the spot where the process will end. From place to place he engraves, erases, repaints ; corrupts. Maybe he covers a composition that he didn’t like before but it’s a fake coverage. The sub layer lives in the composition as shadows. While the observing eye is trying to write the story with the clues from the upper picture’s awareness, he/she is obliged to dig the surface like an archeologist. The deleted exists even with its absence.
He moves with the references he got from the history of art,consciously in the aim of getting beyond what’s caused him to learn by heart. This is a very hard way for the understanding which couldn’t leave figure. But Barış, so to say has put his heart to this.
In his paintings, the concept of game is a simple contact to life itself’s game likeness. A game of life and death! In this case, at most the guy’s woman that he made a toy and carry in his hand, is his wife. And no one knows while you’re trying to write the story in your head where does the game card come from in a composition of armed, and black sunglass wearing guy and a character who you never know what’s he/she doing there,maybe a tribute to life’s game likeness or being a gamble
Complicated relationships are hard… A naked and shabby woman, and a guy with a large moustache molesting her by hand in front of her and a cynical guy’s shadow behind her… Confusion which can be clearly read from her face, and an expression of helplessness… The game card is there again… Sheepish people’s tragedy on the scene !
A picture inside the picture. Dilemma of the woman looking at the picture. The third eye observing her. We’re all pieces of the same paradox!
Disjointed from each other but gathering in the same composition,figures touch each other jauntily. Hands reach from beneath. In some scenes even the hands’ owner is anonymous, whose hand, on whom !
Barış’s main aim is to paint more than telling about something. He makes the picture and he is always watching you aside. Maybe he is satisfied with anxious faces. “The tale told there is yours!” Although he doesn’t have an aim to dictate, he already entered the inevitable narration of the existent ,by painting the picture. With a tribute to Jean Baudrillard – His real subject is not that he painted, it’s the act of painting itself. He paints just because painting is necessary.
He pushes back the worries of being liked and being adored, he stands by his intimacy until the end. He doesn’t care if it fits or not,and he tells that too! This intimacy of his words while he’s explaining te reason of his behhavior is an intimacy which is connected to his style and similar with his character. Besides social inconveniences, personal obsessions, restrained sexual desires, subconscious discomforts hidden in the details, opens endless areas to those who know how to read it. He shows those areas which need courage to enter without hesitation. He doesn’t care about where he’s going, he arrives at his destination, and he will.
Rather than being loved and admired by the majority, he wants to be “held” fanatically by the minority. And he believes that nature of art has the massive power to create it, with all his heart. He cares about the concept “cult” which appears in our minds “positively” rather than that today which’s changed by cultural codings,to describe “negative”. He chases an art to be a “cult”. In this meaning of cult, there’s no mean of being funny. Without making it funny, owning the “local mouth” his voice is a voice from inside. I formerly described him with the words “Barış’s pictures calls back the tragic one, while showing the small and selfish lives caught in the daily and routine, alienated subject, routine, insensitivity with the exact opposite of lively colors and big moves”. He stil has the courage to say that “life is full of pain” without hesitation and he calls you to the stage.
Elif Dastarlı
