of lines and blotches
Coşkun Demiroks works presented here distinguish themselves by the reduction of artistic techniques: the focus on individual lines, blotches and patches, the restriction on few colors and the self-imposed restraint on the movement of the painting hand. The paintings refuse to point to some extraneous significance beyond themselves, to refer to anything beyond their own realness. The line as such, applied to the canvas with a brush or slat, is Coşkun Demirok’s recurring pictorial figure. It epitomises construction, scientific measurement, spatial perspective and architecture. It is the symbol of Platonic ideas and intellect, to which the sensuality of colors is subordinate. Coşkun Demirok liberates the line from this imposed significance and explores its possibilities as independent element of composition. It becomes a corporeal and autonomous entity that dominates the passive surface with its own grammar. The results are not geometric constructions, but rather visual debates about composition – condensation, dissolution, calm, aggregation – and perception. The superimposition of lines points to the dimension of time by revealing the succession of hand movements, and thus the chronology of artistic creation. Drawn horizontally, vertically and diagonally, they cross the pictorial boundary to the infinite space beyond. Some, placed sparingly, form open and transparent structures, while others cluster together at centers of force, or condense themselves to literally block the underlying surface out. Black and White dominate, the colors of graphic and sketch, of utmost contrast and most direct impact.
The observer has to deal with the paintings‘ refusal of outside reference, their resistance to significance. The eye samples the surface, explores the space created by the lines, fathoms its depths and attunes what it grasps to its visual memory. Associations of Architecture and Topography materialize. Perceiving the colors themselves, the dynamics of composition, the pictorial drama, is only possible by shutting out the Known. Each line remains, despite the reduced means of composition and the confined hand movement, an individual subjective expression, clearly distinct in color development and intensity, varying in width, uneven at the edges, sometimes only hinted at and vulnerable in its imperfection.
The blotch paintings follow this principle of reduction as well. Coşkun Demirok employs Black, Blue and Red, colors rich in contrast on bright ground, and spills a precisely defined amount of color. The blotches vary in color, density and contour and seem to float against the background.
By the interaction of idiosyncracy in style, of strict rules and of chance, works are created that envision contradictions and turn them into the agent of artistic expression. Works that are sober as well as of great sensitivity, and that delight the beholder.
Pia vom Dorp