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The expressionist feeling we encounter kapilwri her paintings is nourished by the unstable, dizzying and traumatic despair of our times. We are to traverse the stairs before we can reach the secure environment of our overly-defined residences. In our settled lives, in the daily journeys that we make to settle down, we have to go through stairs. The themes of fire, air, earth, water and cycles emerge as we look into the titles of her most algu work, which own up kapilarri each other through the political theme of reality and imagination.
Stairs in apartment buildings, with their unpredictability, have always frightened us. What we see is a new language. The broken stairs are there to take us to the light. She hints at the transition between cosmos alggi chaos by way of pulling order to the limits of disorder in expressionistically reflecting space onto her canvas.
But these in-between areas that we need to pass through to reach defined spaces with fixed identities also instill a level of anxiety as they are spaces of unpredictability.
Onur Varol’s Bookshelf
To belong to nature by living in the city. And blue is the past perfect tense of this tale. To resist not for our dreams but for what remains at hand! Her painting Hagia Sophia, for instance, is timeless. To dream within the challenging atmosphere of this dichotomy. The artist makes the viewer question the soul of space and time by composing overlapping spaces with the aid of reflections, curves and intersecting lines.
And stairs are spaces that are open to coincidents as opposed to our homes which are kapilsri of calculability and predictability. The moment we think we settle down, we feel that we become nomadic as the space evolves into disorder. Yet, in these paintings that make us sense the disorder through the use of intersecting lines and curves, stairs hit our eyes as the though they are rescue boats themselves.
Algı Kapıları – Cennet ve Cehennem – Aldous Huxley
Our balance will be constantly disrupted as we get exposed to powers on the outside and will regain balance with every step we take, and balance and unbalance will pursue each other as a perpetual movement. Disorderly spaces against spaces where we experience order.
The absolute order of the interior, while destined to decay and fail, will continue to be part of life to the extent that it loses balance with what comes from kapilaro outside. Horizontals, verticals that divide the canvas, deep colors that run from one end to the other, broken lines… They tell the viewer to forget everything pertaining to pictorial representation. Stairs which remind us that we ourselves will change when we alter our conception of the space and the plane we exist on, as they disrupt the relationship of stability with the ground and the system, and notice that perspective is relative when we experience the earth from different angles.
Today, as we focus on ourselves and keep on falling in blind wells, we sense that stairs are an important aspect that bind the outside with inside. The time we can detect and perceive is progressing sequentially, but can kapilaru not perceive it all overlapping in a different dimension? Transition points where we can experience uncalculated encounters.
The thoughts that emerge from what is happening in nature, and thoughts that multiply, remind us, with a sad imaginary, of the dry climate that transforms the earth into a guagmire. Stairs that trespass the horizon, broken but resolute steps, the trees in her more recent work and the garden that we mistaken for a forest…. Because life is a constant disruption of balance.
Stairs that connect distinct, various planes of perspectives to each other. We journey through points that are symbols for being settled and order and we define ourselves through the settled points rather than the transitionary ones. Perfect balance is death. Every reality presents different perspectives and opens the doors of perception to subjective views that look at it, and the artist is very well aware of this.
The sense of space in her paintings invites us to reconsider our bonds to nature and our sense of being, to the extent that it disturbs us.
Spaces of transition, in other words, in-between spaces, are regions of uncertainty. The power within a black line is the translatable form of fire, solitude and fear. Such closed systems with no energy input would only follow the second law of thermodynamics and would cause chaos rather than order, or in other word increase entropy. While nomads move in all directions on earth, we the settled become nomadic where we are as the spaces we create get deranged.
Interlocking spaces, appearance and disappearance of trees, and the impressions of landscapes are suddenly divided by harsh vertical or horizontal elements like the lines wishing to erase the written.
The future, perhaps, is hidden beneath the reflections, at the tip of the stairs.
The earth will manifest itself from very different angles as the stairs are carried onto varying planes. While the brush strokes rapidly facing towards the center imply the unpredictable threats that constantly haunt us, courage is stepping in on the demolished, broken glass stairs wanting to escape from the loop.
Editions of The Doors of Perception & Heaven and Hell by Aldous Huxley
In feeling her paintings, we understand that what is permanent is not the settled spaces but stairs. What she envisions is hidden behind the light that permeates her paintings concerning the skies and the earth. Kapikari outside is important.