top of page
Eye of the Cyclop

In the creation of my art works I am mostly insipired by Greek and Mesopotamian mythology. In the "Eye of the Cyclop" I refer to the importance of the third eye which is invisible but believed to be placed in the middle of the forehead and seeing the truth much better than our eyes. As an artist I believe colours and shapes need no figuratives and that is why I make use of geometrical shapes (generally cicrcles) and shades of colours to narrate a story through painting. However, you can also see some symbols or stamps which I use as a clue in a rather veiled way.My technique of making marks or scratching helps me to unveil the mystery. As I scratch the oil paint, the truts comes out and becomes visible.

Eye of Cyclop,2018/London

Oil on canvas 180*180

Image-22.png

Story of the Prometheus' stealing the fire from Gods has strong references to modernity that is the source of both enlightement and chaos on Earth.

Ptometheus stand for the contemporary man who is in combat with the Creator and creation. This struggle of man with the Divine drags him into chaos but also like a vicious circle he thinks he wins.

However, in return to man's unending search and desire to be the omnipotent, he is also gifted with whats is called civilasation, science and art. And the mankind is still unaware that these are also a kind of testing for him like Prometheus.

Fire in my work is symbolized with the triangle and shades of red in circles stand for the Sun, the immense source of fire and where Prometheus brought the fire to the earth

Prometheus' Fire, 2018/London

Oil on Canvas 100*100

phoneix.jpg

In the still of the night, just before sunrise, a magnificent creature builds its nest. You stop and watch as it carefully puts each spice, clove, and branch that lay before it in place with meticulous detail. As you stand and watch, you are struck by the tiredness of the creature that is clearly evident though in no way takes away from its beauty. The sun begins to rise and the bird begins to stretch. Its feathers are a beautiful hue of gold and red . It cranes its head back as it sings a haunting melody that stops the sun itself in the sky. A spark falls from the heavens and ignites a great fire that consumes both bird and nest, but don’t worry. In three days, the Phoenix will rise from the ashes , born again.

Phoneix,2018/London

Oil on canvas 35*50

ce2bb6c7-fa90-4ff8-b55f-a8ff5c1b2024.jpg

“There is always hope.” …

Pandora's box is an artifact in Greek mythology connected with the myth of Pandora in Hesiod's Works and Days:

“Hope is the only good god remaining among mankind;

the others have left and gone to Olympus.

Trust, a mighty god has gone, Restraint has gone from men,

and the Graces, my friend, have abandoned the earth.

Men's judicial oaths are no longer to be trusted, nor does anyone

revere the immortal gods; the race of pious men has perished and

men no longer recognize the rules of conduct or acts of piet.”

Pandora opened a jar  containing sickness, death and many other unspecified evils which were then released into the world. Though she hastened to close the container, only one thing was left behind , which was Hope.  

Pandora's Box,2019/London

Oil on Canvas 60*80

38db7ada-6c2b-483d-91b0-1e662b909f11.jpg

This work of mine is an attribution to Hilma af Klint's Series VIII. Picture of the Starting Point. (March 1920,50x30cm) 

I use pastel colours, rose metallic ball and the paper is lino printed with my created pattern. 

Af Klint intrigues me with her understanding of abstract art and reflections of spiritualism on her paintings. She was a leading woman figure in the history art with a stunning foreseeing of the futuristic art. She began creating radically abstract paintings in 1906, they were like little that had been seen before: bold, colorful, and untethered from any recognizable references to the physical world, says Gughenheim critic for her current exhibition at tthe museum.

I wanted to thank her for all the inspiring ideas and art works she left on earth.

Attribution to Hilma,2019
Pastel on lino printed paper
31776fc2-6afc-435f-88dc-bb4f1e186d79.jpg

This is my satirical attribution to one of the most popular artists of our age, Damien Hirst who is reportedly the living most popular artist of the United Kingdom.  

Satirical Attribution to Damien, 2019

Acrylic on lino printed paper 

 A MODEST PROPOSAL: " LET'S EAT CHILDREN"

WhatsApp Image 2019-05-15 at 04.26.35 (1

This is the first piece of my Let’s Eat Children Project studio practice.

My influence is the Belgian Surrealist, Rene Magritte. He is one of my favorite artists in art history with the philosophy of his art and technique. I find him witty and thought-provoking in terms of the images he chooses and combines. Often depicting ordinary objects in an unusual context, his work is known for challenging observers' preconditioned perceptions of reality. In my collection, too, I wanted to make the viewer think about what is seen. Like the media theory derived from Jean Baudrillard's simulacrum, what we see is not real; however, it becomes our reality after a while. And it is hyper-reality or if we adapt it to painting, it is called Surrealism. This is what I see in MAgritte’s paintings. Although , It is weird to see an object not in its usual form or place, after a while you get used to it.

When it comes to my association of this concept with the children in Yemen, I have to tell the world is turning a blind eye to what is happening in Yemen: starvation, malnutrition, and the civil war. As the people of an alter modern age, we act as if it is normal and just do nothing. Thus, this work is a critique to the alter modern man who lives in a digital world in smart phones and ignores the reality.

Turning a Blind Eye,2019

120*80  oil on canvas

0c2d7202-71bf-41ad-a5ed-e630987a271b.jpg

Almost as long as there has been life, war has been a part of it. Mankind continues to wage war even though the consequences often breed nothing but misery. However, when a person is called to defend his or her country, or protect other defenseless people, it is his duty to fight. There is no question that there is evil in the world and we can not act dump and say it is none of our business. We cannot stand by and watch while others are being persecuted. It is the duty of mankind to uphold justice. 
The gingerbread man-shaped cutter represents a keyhole through which the modern man spies on a city under siege from a limited view. It is dawn. A new day is rising, but the man is still sleepy and lazy to see the reality. This painting is a call for awaking. 

Dear Cutter, Don't Cut Me

100*100 oil on canvas

6555b186-d20c-48e8-bbd3-ece9c14d4542.jpg

It is Raining Hope in Aeden,2019, 

oil on canvas 120*120

WhatsApp Image 2019-05-15 at 04.32.10 (2

This piece of mine is inspired from MAgritte’s Golconda. I juxtaposed the bowl hat raining men with my strong symbol of gingerbread man cookies. The cookies are used as a protest to the malnutrition in Yemen. They each stand for children who lost their lives of starvation, all skin and bones. The city Golconda in Rene’s painting was once mythically rich and opulent Indian city that is used as  an indirect critique of capitalism. At that point, I share the same view with magritte. The repetition and the regimentation of the raining figures emphasize the ordinariness of the case in Yemen in the capital world system. The men turn into Yemeni children(cookies), the city becomes Aeden. The closed curtains at every window may indicate that the occupants are still asleep, unaware or indifferent to the fate of these children. I intentionally try to stay as loyal as possible to the original painting as I want it to remind that my reference is directly Rene Magritte so that the viewer will also remember his messages and philosophy and try to associate Rene’s with my appropriation.

From this perspective, my collection is a tribute to Magritte, as well.

Memory is one of my favorites of Magritte. It has all the elements of a surreal virtuality and journalism.

Blood is the most powerful symbol. I tried to paint a head of gingerbread man cookie instead of Rene’s sculpture. The view in the painting is very still and tranquil as a reflection of a stable memory. I understand the memory is not sharp as for both it is bleeding (losing power) and everthing is very dull. There is nothing to challenge. When it comes to wars and drastical human conditions on earth, is not that all of us who have a weak memory? We forget everything after a while. The events, places,people,names… It is another adverse side of modernity. Everyhing gives a sense of futility and discontinuity.

The only beautiful think is the leaf which seems quite alive, fragile and sensitive. Maybe it means there is still hope.

Bleeding,2019 30*40 oil on canvas

16859d67-bf28-41ab-aefd-ebddae2ce104.jpg

The head cut and arms are missing… There is a burning candle against the breeze from the sea in the open air. Strong. The sea and the sky intermingled. Clouds are delusional.  The gingerbread man torso represents the dead bodies of children who lose their lives in the war either because of starvation or the bombs. It is like a Russian doll, babushka, which gives the impression of endlessness and continuity of the situation. The candle, as usual, represents hope.

Like a Candle in the Wind,2019, oil and acrilyc on canvas , 30*40

MY ART,MY HEART

7.jpg

Bearable Lightness 120*180, oil on canvas

In this series of interiors, I question what is an artwork, what makes a painting art, the superior positioning of artwork in any interior. 

By its simplest definition, an artwork of art is an aesthetic physical element or artistic creation.

Art has been a part of human culture in some capacity or other for thousands of years. It serves as a means of personal self-expression and as a way to communicate the artist's view of reality to other people. In my paintings, I highlight the relation of art with time and location as well. Because art can also reflect elements of time and place of a certain era, and most art reflects at least to some capacity the cultural norms and beliefs of the time in which they were created. As such, many great works of art serve as something of a conceptual time capsule, both in regards to the artist's mind and to society at large. 

2.jpg
4.jpg
3.jpg
London Blues,
126*164 oil on canvas
Painting in painting has always fascinated me. I could not think of an interior without paintings in it. So I decided to put my all term projects into these newly created ones along with masterpieces of some prominent contemporary painters. It is also away from paying tribute to the masters which I used to do in my previous projects.
Painting within a painting always enhances the viewers' understanding of what is a painting and whats is an artwork. 
 In London Blues, I picked Hilma Af Klint one of the women in the art world of baby steps of the contemporary art. 

Together Forever Room

100*80, oil on canvas 

This corner is inspired by my Together Forever painting. I put some of my favorite world literature Utopia by Thomas More and Metamorphosis by Franz Kafka. I want the audience to enjoy some tranquility imagining they are inside the painting and living the ambiance to the full while questioning the place of art in their lives. 

I tried to experiment as many textures as I could ranging from metal to wool, velvet, stone, concrete, glass, wood, paper and plastic as it is important to arise sensation in the viewer through the variety of texture and colour. 

Lost in Klein Blue

43*54 oil on linen canvas

The monochrome artist Yves Klein and his invention blue shade is my inspiration in this small piece, also the first of the series. On the wall is my largest painting An Aboriginal Story (240*300). However, the painting in the painting does not reflect the actual size as the focus is not copying my original piece but adding a taste of it as enough to pursue my target question: What makes a painting art? 

My interiors look like theatrical settings in which forms move in and out of the shadows instead of natural living areas.  There is an inherent drama created when a limited number of light sources transform the color, shape, and identity of objects within a space and turns cast shadows into solid focal points. Some objects lose focus as they move away from the light and take on a mysterious appearance, while others change color and shape depending on their proximity to the light and the color of that illumination. It is an intentional attempt as I created what I saw in my mind not in reality through collaging and patchworking images. 

8.jpg

In Deep Fantasy

85*75 oil on canvas

We live in a world between fantasy and truth. Derived from a study of Turkish literature, I created a room that reflects aspiration and a fantasy world. The reason I do not use any human figures is that I want to audience to occupy the seating places, to share a conversation they want and to discuss mostly art issues. The artwork here is my cookie sculpture. Gingerbread man cookie is an element I used for my interdisciplinary project representing Yemeni children. No, I enjoy using this figure as an alter ego of mine. The giant horse sculpture is also a part of my imagination, it is strong and protective, witnessing the conversation. The audience is free to associate it with an authority figure in their lives or as themselves. 

9.jpg

In the Mean Time

40*50 oil on linen

Curtains, carpets, armchairs, small objects,lamps , windows, London bricks view, and other details..and my painting on the wall Dear Cutter . 

I wanted my painting to be as rich as it could be avoiding a mess and colour mud. In my series, I found out that working on interiors provide an excellent opportunity to paint a variety of light intensities, colors, and effects; but they also present challenges in trying to capture the subtleties of forms within those dimly lit spaces. 

10.jpg

The Red Monday

120*120 oil on canvas

The circle is a universal symbol with extensive meaning and the basis of my painting adventure.

Generally speaking for my whole circle series, it stands for the notions of wholeness, perfection, the infinite, eternity, timelessness, all cyclic movements in nature, the circular heavenly bodies like the Sun, the Moon, planets and their whirling in the space, repetitive human behavior. g connected to our primitive self and a means of narrative. 

In The Red Monday, inspired by Gabriel Garcia Marquez's I am telling a story which consists of dark scenes and   

12.jpg

Translucent

120*120 oil on canvas

My translucent intermingled circles are the result of the evolution of the circular image in my imagination. I wanted to put layers and enrich it with shades of blue. 

1.jpg
Together Forever
100*80 oil on canvas

Life is all about balance. In this piece of mine, I wanted to reflect the balance between male and female energy. Although the circles are seperate, they touch and connect at some point. The circles also symbolize the mobile energy that constantly moves and trigger another circle like a stone thrown into a lake. 

5.jpg

An Aborginal Story

240*300 oil on canvas

Like everything in nature, my conception of circles are also evolving. In my last series of circles, they have quite deformed. this series of mine was meant to be juxtaposed ancient clay tablets on which I would write some decoding of emojis. However , I changed my plan and icluded them into my interior project. They now stand in my interior paintings as part of my questioning art and relation between art, places, people and time. 

You can see it in my painting Lost in Klein  Blue.

bottom of page