I am a land artist who currently resides in St. Sauveur des Monts, Quebec, Canada.
My art education includes The Villa Thiole in Nice, The International School of Decorative Arts in Nice, and the Inter-Dec College in Montreal.
Through a program with the Canadian government called Diversite Artistque Montreal, D.A.M. I am receiving help to further my artistic career involving business matters concerning the art world.
I have exhibited my art at the Fagergreen Gallery, (One-Person Show) Copenhagen, Denmark, the Visual Voice Gallery in a show entitled, Hommage a’ Dada, Ottawa, and in Montpellier, France at the Musee des Beaux-Arts de Montpellier.
Since Istanbul has historically been the meeting place where East meets West, it is fascinating, even unsettling, to a North American like me, a stranger, who has not had the chance to visit.
There are obviously differences and a certain measure of exoticism, as well as similarities that could be confusing since they are interpreted in an unfamiliar context. It is in this spirit, especially curiosity, that I strive to demonstrate the result of my inevitable propensity to associate, rightly or wrongly, all that is similar.
Abstract art has been omnipresent in the West since Kandinsky and recently, Malevitch. It’s basically an attempt to objectify reality pretending to get rid of all illusionism, any representation considered fallacious by definition. The continuity of this search for what is concrete continues with minimalist experiences and eventually, conceptual art.
It’s basically an attempt to objectify reality pretending to get rid of all illusionism
What is real would ultimately be of an “intellectual” nature and therefore, intangible. Personally, I believe that the result of any effort to objectify is doomed to failure and that it is an illusion to pretend otherwise. The illusion remains (objectively), even if relegated to the background.
Islam, for its part, rejects human representation for religious reasons, since it is perceived as blasphemous. In consequence, there developed a fascination for geometry and patterns, since they are aesthetically and morally acceptable – ideal in a way! It is obvious that, whether we are talking about abstraction or Islamic art, an ontological approach is essential to any hope of understanding.
The ultimate goal would be to be able to detach oneself completely from illusions and to be interested only in what truly matters, what is real, the reality, whether of a spiritual or logical nature … thanks to quantum mechanics, we understand today that the idea of determinism is erroneous.
The flapping of butterfly wings will not result in inevitable outcomes, possibly predictable through a multitude of causal relationships… The results will be variable and only a statistical approach is appropriate! The work that I propose in this context endeavors, in turn, to raise awareness of the various aspects of these moral/logical concerns, which, in my opinion, are perfectly inextricable. In this sense, it is necessary to view my work as a questioning, in that, even if it does not provide an answer, it does encourage ongoing debate and discussion. There is no place for certainty, only the necessary conviction that action must be taken, even at the risk of being deceived or making an error.
An Archimedes’ screw, with its axle secured to the sloping ground, seems to be stopped in its course in a bed of rocks like that of a dry river. It is the ideal time to capture the instant of perception, in the photographic sense of the term, of this endless narrow screw reduced to two turns, since its movement is interrupted forever (preserved for the edification of future generations).
Moreover, the spiral corresponds to the traditional iconography evocative of time. We need only look at Flemish still-life paintings with their spirals of fruit peelings to understand.
On the surface of the blades, another spiral reinforces and accentuates the impression of perpetual turning. For the same reasons, it extends beyond the spiral, an overflow, as if to manifest its desire to turn! The rock bed responds to fractal logic since there is a crescendo from the smallest to the largest. Again, the manifestation of antagonistic forces. A wave that came to die against the pier? The stones are white and, like the gravel that surrounds the islands in a Zen temple courtyard, they represent the river that would have disappeared. The arrangement is, therefore, an expression of timelessness, but also it is an artifact attesting to the universality of the man/nature relationship. The Angelus by Millet speaks to us of a similar story … the dawn is evocative!