KIRIK // BROKEN
This exhibition presents new work by the graphic artist Kaan Bağcı. Although the individual works are untitled they form a cohesive series under the term Kırık or Broken. This refers both to the found pieces of broken industrial timber on which the drawings are made, and also the breaking up of the images by the geometry of the line, the circle or the crystalline frame.
Previously Kaan’s work has combined graphite hand drawings and digitally sourced or manipulated images. As such the artist is very familiar with the differing logics behind various modes of contemporary image production. The work concerns itself with the representation of nature in relation to these underlying logics or structures.
A tension emerges between our constant experience of the moving or digitally enchanted image and our romantically imagined pre-existent relationship with the softer more fixed quality of traditional drawing. It seems that he is trying to impose the logic of the newer more diabetic processes onto the sovereignity of the images of the animals. This threatens a total breakdown of these images. However, it also reveals the hidden structures of the newer processes and how our perceptive abilities have been altered by them. We are on some level aware that a moving image is no more than a series of captured nanoseconds, and the virtual world is dependent on a complex set of frames and mathematical compilations.
Bağcı at various points references the film strip and the mathematical crystalline structures as he builds up his images. One work which is perhaps the key to the rest is the one of two antelopes fighting. Here the circular geometric break also references the crosshairs of the camera and as in the film Blow up our presence as viewers is implicated in the complex subjective lies being told at all levels as a cultural object is created.
This exhibition presents new work by the graphic artist Kaan Bağcı. Although the individual works are untitled they form a cohesive series under the term Kırık or Broken. This refers both to the found pieces of broken industrial timber on which the drawings are made, and also the breaking up of the images by the geometry of the line, the circle or the crystalline frame.
Previously Kaan’s work has combined graphite hand drawings and digitally sourced or manipulated images. As such the artist is very familiar with the differing logics behind various modes of contemporary image production. The work concerns itself with the representation of nature in relation to these underlying logics or structures.
A tension emerges between our constant experience of the moving or digitally enchanted image and our romantically imagined pre-existent relationship with the softer more fixed quality of traditional drawing. It seems that he is trying to impose the logic of the newer more diabetic processes onto the sovereignity of the images of the animals. This threatens a total breakdown of these images. However, it also reveals the hidden structures of the newer processes and how our perceptive abilities have been altered by them. We are on some level aware that a moving image is no more than a series of captured nanoseconds, and the virtual world is dependent on a complex set of frames and mathematical compilations.
Bağcı at various points references the film strip and the mathematical crystalline structures as he builds up his images. One work which is perhaps the key to the rest is the one of two antelopes fighting. Here the circular geometric break also references the crosshairs of the camera and as in the film Blow up our presence as viewers is implicated in the complex subjective lies being told at all levels as a cultural object is created.
Tom Keogh
Untitled / Pencil on wood panel / 69x49cm
Untitled 2 / Pencil on wood panel / 40x60cm
Untitled 3 / Pencil on wood panel 49x69cm
Untitled 4 / Pencil on wood panel 108x40cm
Untitled 5 / Pencil on wood panel / 108x40cm
Untitled 6 / Pencil on wood panel 108x40cm
