Barış Cihanoğlu | Selected Bio Texts
2020 - 2019 - 2018 /17
2016 /15 - 2014 - 2013
The tragic heroes of the epic fictions
Doesn’t the creation determine which argument will be followed by the ones who try to understand, solve or comment on the creation ? Time, perception, geography, historical duration, nominative mythology of the producer or the expounder, inter disciplinary or being above disciplines, following Panofsky or Wölfflin, Kant or Hegelist aesthetic, hermeneuic or another different way – method. In the end, leaving the creation and arriving to the creation as final destination is inevitable, divine result as it can be felt from this denotation. And if this mentioned creation has the determination and might to destroy all your previous memorizations beside.
Design a stage in your mind. Built up from the entireness of adversities, let it be a stage built with figures master Balaban’s expression “not with mathematical measurements, with dialectic methods”. And now discover the impossibility of attempting to understand and render for others about your stage which will appear with infinite combinations and just limited with limitlessness of imagination. According to this, not to make the mentioned reading abortive over Barış Cihanoğlu pictures, let’s look at his wide apprehension, his strong wrist which gives him his pattern skill and sensitivity which marks the right points,just his pictures. Is it a show mentiones? Every figure is an actor? In a moment the most natural life space became the stage; you, who you always consubstantiated with the hero, is in the leading role again! In an instant you’re a red haired,long legged beautiful girl came out of Russian novels, lying in the middle of the stage, with a wild soul covered in morale values veil. And an “Ahhh” expression which can be noticed even with his half shaved face of that man looking at you! And the lips of that woman looking at you,covered with lipstick,permed hair and her widely opened eyes with the most humble arrogance of being devoted to be the “most beautiful”,shaming on you!
All the deeds building up Barış’s pictures, takes the viewers to a stort and narration at first like in that Picture. First the narration should be dechiphered to solve the story. Arguments can be incapable; the most familiar image becomes a stranger instantly.
Sometimes, viewing Barış Cihanoğlu’s pictures is not just like a travel to the past,or subconscience, it becomes figurally an exhausting journey from the surface to the deep. Especially his crowded scenes,has a multi layered structure which can be solved one by one seperately from each other. Behind the “main figure” in the front, sometimes there’s a hanging image which is at least as real as,or maybe sometimes even more “real” than it.
Barış’s pictures don’t fit with the reality line in Turkish painting arts history. Because the aspect of socialist realistic creations is related to 20th century but shape is limited with 19th century bourgeois reality and there are really few artists who can escape from this consistence. It’s a solid aspect against decadence,to search for new things by having the excitement of new openings which 19th century masters explored in the figure,like Barış does. What they make people feel makes the pictures as real as it can be,despite the unique colors he places on his strong pattern apprehension are quite far from natural. A big headed man who can not go further than being a caricature character on his own and his head in front of him,one of them with the closest colors to the “natural” one, one with the dark blue face,two people can take place in the same picture for example. Colors,are like this to reflect the pain of sadness,recklessness,fear or happiness. Small characterized people of exaggerated lives are very colorful for sure. The worst can be in the darkest color or the most hypocritical one might look like a charlatan. Along with this, to approach what painter fictionalised, each Picture should be evaluated with a look in its own limits which minds about the harmony of shape and color.
Sometimes it surprises us how reckless the pictures are about perspective. Arbitrariness with great self confidence in the association of incidents, can express the helical structure of the figures. And the place gains a new meaning in this direction. It is not necessary for the place to be surrounded with four walls for you to know it’s a something square meter room of a warm home. And mostly the painter has already placed some attributes about the place for us to sense which place it is. And the different sizes of figures which are shown from different angels are placed in an order to distort the sense of common residence too.
He tells us to associate with the picture,and to look at it in a more accurate way by shocking the looks and making us find it odd. He turns the alienating of the eye to its favor. He builds the pictures like epic scenes of Brecht.
Elif Dastarlı
Doesn’t the creation determine which argument will be followed by the ones who try to understand, solve or comment on the creation ? Time, perception, geography, historical duration, nominative mythology of the producer or the expounder, inter disciplinary or being above disciplines, following Panofsky or Wölfflin, Kant or Hegelist aesthetic, hermeneuic or another different way – method. In the end, leaving the creation and arriving to the creation as final destination is inevitable, divine result as it can be felt from this denotation. And if this mentioned creation has the determination and might to destroy all your previous memorizations beside.
Design a stage in your mind. Built up from the entireness of adversities, let it be a stage built with figures master Balaban’s expression “not with mathematical measurements, with dialectic methods”. And now discover the impossibility of attempting to understand and render for others about your stage which will appear with infinite combinations and just limited with limitlessness of imagination. According to this, not to make the mentioned reading abortive over Barış Cihanoğlu pictures, let’s look at his wide apprehension, his strong wrist which gives him his pattern skill and sensitivity which marks the right points,just his pictures. Is it a show mentiones? Every figure is an actor? In a moment the most natural life space became the stage; you, who you always consubstantiated with the hero, is in the leading role again! In an instant you’re a red haired,long legged beautiful girl came out of Russian novels, lying in the middle of the stage, with a wild soul covered in morale values veil. And an “Ahhh” expression which can be noticed even with his half shaved face of that man looking at you! And the lips of that woman looking at you,covered with lipstick,permed hair and her widely opened eyes with the most humble arrogance of being devoted to be the “most beautiful”,shaming on you!
All the deeds building up Barış’s pictures, takes the viewers to a stort and narration at first like in that Picture. First the narration should be dechiphered to solve the story. Arguments can be incapable; the most familiar image becomes a stranger instantly.
Sometimes, viewing Barış Cihanoğlu’s pictures is not just like a travel to the past,or subconscience, it becomes figurally an exhausting journey from the surface to the deep. Especially his crowded scenes,has a multi layered structure which can be solved one by one seperately from each other. Behind the “main figure” in the front, sometimes there’s a hanging image which is at least as real as,or maybe sometimes even more “real” than it.
Barış’s pictures don’t fit with the reality line in Turkish painting arts history. Because the aspect of socialist realistic creations is related to 20th century but shape is limited with 19th century bourgeois reality and there are really few artists who can escape from this consistence. It’s a solid aspect against decadence,to search for new things by having the excitement of new openings which 19th century masters explored in the figure,like Barış does. What they make people feel makes the pictures as real as it can be,despite the unique colors he places on his strong pattern apprehension are quite far from natural. A big headed man who can not go further than being a caricature character on his own and his head in front of him,one of them with the closest colors to the “natural” one, one with the dark blue face,two people can take place in the same picture for example. Colors,are like this to reflect the pain of sadness,recklessness,fear or happiness. Small characterized people of exaggerated lives are very colorful for sure. The worst can be in the darkest color or the most hypocritical one might look like a charlatan. Along with this, to approach what painter fictionalised, each Picture should be evaluated with a look in its own limits which minds about the harmony of shape and color.
Sometimes it surprises us how reckless the pictures are about perspective. Arbitrariness with great self confidence in the association of incidents, can express the helical structure of the figures. And the place gains a new meaning in this direction. It is not necessary for the place to be surrounded with four walls for you to know it’s a something square meter room of a warm home. And mostly the painter has already placed some attributes about the place for us to sense which place it is. And the different sizes of figures which are shown from different angels are placed in an order to distort the sense of common residence too.
He tells us to associate with the picture,and to look at it in a more accurate way by shocking the looks and making us find it odd. He turns the alienating of the eye to its favor. He builds the pictures like epic scenes of Brecht.
Elif Dastarlı
