On large canvases achromatic lines cut across one another, sometimes one by one, sometimes crisscrossing and sometimes creating grid-like forms. Connected to a concept, Demirok has progressively continued this intellectual and structural form of language. Rather than single works of art, he is more interested in grouped series. Concentrating on concepts, delving, delving deeper, pulling away, and as a detail leaving them to become. But, always the main point is to question painting.

Not selecting colorful, active figurative elements, narrative stories, or spaces and people as a point of departure, this style of painting studies peripheral areas. In a totally withdrawn state, concentrating on nuances, and within a concept he has created, he follows the mental progress on canvas. Of course, in this state, canvas and color can both be used experimentally. Surfaces to be painted, sometimes turned around, sometimes left alone, are hung on the wall or placed on the floor. In addition to brushes, long thin sticks are used to spread the colors onto the canvas. Original structures, contours, and silhouettes develop. And here the degree of density of the paint plays a role. When concentrated and generous portions of paint are used, the emerging paint drops – again in linear form - support the structure of the picture. The concepts of Coşkun Demirok act within this area of tension. And in contrast to all the rigidity and restraint in his paintings, spontaneity gives or desires to give a freedom that becomes a dynamic act and this controlled yet free style connects to Action Painting and the dripping technique created in the 1950’s. In this way, Demirok conquers the coincidental and inserts the dynamic into a planned structure.

Dr. Christine Vogt