When we look at the process of Avni Oztopcus paintings, we
can see how same attitude progresses over its cumulative
segments and from time to time how they withdraw the
previous experiments to experimental areas once again.
Even their names are different; we can see the individuals
which have transformed on their own with the names Tek Dg
and Tek Bt (1995). Before the Individuals, there were
paintings of him which belong to the year 1985 and those
were the preliminary works for the paintings in this
exhibition. While these works looking for peace zones, they
also strongly desire to reach the unique person and also
touching their domain through the literal and absolute
After the Phases exhibition, Shelters and
Individuals was the last exhibition that Oztopcu has
opened in 2014. In both of these exhibitions, the artist
enables us to see the whole integrity of the fictional
conversions consisted during his stages and
the problematique which has been discussed for 30 years. We
will meet with some of these new experiments in the
exhibition of Area Experiments and Individuals.
In these experiments, we can see that the movement improves
with the emphasis of the light and dark tones and with all
the states of colours in the infinity of darkness. We face
with the relations supporting balance which are continuously
in a struggle, while the gravity is building up. We will see
both contradiction and emphasis in the same environment.
We can see the attitude related to the contradiction of
darkness and colour in Oztopcus report in 1986.
my paintings the figures which express an artificial
appearance are lapsed in to colours and geometric or free
shapes, sometimes give the feeling of a rough ornament and
these are all in an infinite looking location, that cant be
determined by anything. This location is the space where the
stars are travelling, and it is outside of our usual
experiments. So it seems like an imaginary place for us.
In the report of 1989, for the period in which the colour
geometric ornaments replaced
with free shapes in the later times of 1986. And in the
beginning of 1987, these free shapes adopt their role with
their active sides in this combination. They are no longer
in a dark place where the stars are travelling, but they are
still located in an imaginary atmosphere. New ornaments
undertake the enthusiasm in the painting while carrying
three elements of the colour with their vibrant side
In both states of the contradiction, a strong desire exists
for using the movement in edges. This brings up the linear
structure. Being in search of clarity, integrity
and accuracy with the expansion of contradiction through the
edges, made me approach to a linear structure. And also form
occupation has cultivated the linear structure as
My method of seeing the form, transformed in to the duty of
certainty. This doesnt mean form needs to be certain
all by itself, this just means each form has a strong
tendency to manifest itself.
I hardly worked in order to make the elements seem with
clarity and accuracy. Emphasis is over the boundaries of the
object and linear approach separates the objects from each
other. My target is comprehending the objects as permanent
and tangible realities. Each form has been compelled in
order to seem in the most typical way for themselves. Single
(found by oneself) ornaments are improved in case of
In my paintings while each part is tightly bounded to the
whole, at the same time tries to be independent. This is not
randomness; singles are subjected to the whole, but never
give up existing on their own. This forces the audience to
see additively, which is an occupation for combination of
the independent parts.
Certainty in my paintings remains in the visibility of
forms. When it is watched entirely, there is an
uncertainty in the meaning. In this case, this is not
the complication of a puzzle; on the contrary it is just an
occupation in order to conserve an uncertain part eternally.
The duty of the uncertainty is dedicated to the meaning
of the combination.
In the combination of all, the meaning is not related with
anything. The certainty in the forms obtained with the
expansion of contradiction. Forms can be in absolute
intellectuality or can exist in nature devoid of holism and
the elements isolated from nature are in the way of
intellectual intangible existence. Both of these states can
connect with each other intellectually."
The certainty uncertainty stages still continue in
the paintings of H. Avni Oztopcu. This is the state of the
individual or individuals and their feeling areas. While
individuals remain on their own, at the same time it can be
seen that they try to make a distant collaboration with the
other individuals. They also aim touching a unique person
further and it is perceivable that there is a desire for a
journey to reach universal time through its own area. (3)
1 - Oztopcu, H.Avni: Light-Space-Object, Istanbul 1986,
Mimar Sinan University Social Sciences Institute, Art
Painting Department Masters Report.
2 - Oztopcu, H.Avni: Fictional Space, Istanbul 1989, Mimar
Sinan University Social Sciences Institute, Art Painting
Department Proficiency in Art report.
3 - Sumer Biber, Pinar: 2015-2016 H. Avni Öztopçu interview
notes at the studio.