Space is the main
subject in my work. I am interested in the way we visualize it, the way we
treat it, politicize, imagine, and remember it. I use a technique that is as
random as it is premeditated and studied. My paintings are formally as precise,
rhythmic, and structured as they are evasive, accidental, and fluent.
Although I do not use
print or collage, I use a technique in my paintings that imitates photographic
prints, using tools like straight edges and knives to produce an effect of
instant reality, where evidence alluding to places and events are implied. It
is only upon closer inspection that the “photographic reality” falls apart, and
the painting’s illusion is revealed.
Monotone paintings are
visually closer to photography, and therefore visually closer a realistic
documentation, as our eyes are trained to consider photographic images as true
testimonies. I work with fragmented compositions and figure-ground
arrangements, and I construct perspectives of conflicting views locked in the
painting’s multiple glazes. It takes time to see through the superimposed
layers–just as it takes time for the eye to conjugate the overlapping
fragments. Multiple-eye levels that range from plan-view to panorama, and focus
from close-up to remote, cause a dispersal of information in the composition.
My aim is to produce paintings in which spaces are recognizable yet elude
description.
Canan Tolon
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