Ebru Uygun deconstructs the traditional artistic practice with her works. The piece of art that is constantly demolished and rebuilt by the artist as part of the process, is open to different readings by the spectator. Both the subject and the object is transformed and developed constantly by leaving traces. The works are kinetic structures rather than still ones. The artist, who perceives the practice of painting as a process rather than an aftermath, imposes a transcendent meaning to her paintings. Her creative process consists of performance, collage, sound and sculpture. Her works, while close to performance concerning the nature of her artistic process, are somewhere between collage and sculpture when they are finalized. The artist goes beyond the two-dimensional essence of the painting. She changes the visual perceptions that are created by the traditional art all together and takes in the viewers into a 3D optical pattern.
The exhibition will be an installation of six site-specific works. Uygun’s process commences by the decision of the colors. Black, red and navy are the colors dominating the works and are often used in monochromes. Similar to her previous series, Uygun’s recent works for the exhibition also posses senses of timelessness and nonlocality. The creation process is in a way, a meditative continuum and therefore closer to the abstract world. However, this process that can be defined as abstract and spiritual is also rather rough. The vulgarity can be observed in the tear damage on the works. While the artist acts upon the motive of destroying and recreating, she wants to unfold the normally hidden side of the creation. Creating while destroying. This is the most important element in the artist’s curiosity and pursuit.