Nameless II – Exhibition Critics


Bodyless Things that come into Existence Made them became “Nameless”

Hüseyin Özinal’s paintings resemble a geologist’s frames an active volcano. In this case the visual similarity can mislead us about what we see. The most significant fact is the pathetic expression that occurs between human enthusiasm and inhuman carbonized feelings. Spots of dark brush marks situated between reds evoking high fever while producing a morphological call for form, are a way of providing any determinist understanding of shape. Dynamic marks take shape in the magmata flux that tends to deform the form and are delivered to the spectator’s psychological perception. Instead of making clarifications, this depiction of the action of morphemes and non-morphemes coming into existence as magmata alive in continuous alteration, try to produce only discrete details, living with it.

In the artist’s last paintings we can see a flourishing ground spots on sediment surfaces that give a sense of carbonized nature. The surfaces with sometimes frontal, sometimes diagonal depth of perception give us a feeling of the ground moving in a landslide towards other space. The utopian approach of space between nameless paintings and their desire for the unknown destinations does not accept any static moment. The energy that drives organic coming into existence does not aim to shape any form of body, but instead to accelerate the ground movement, the body to be without any ground.

The fact that things have history has requires a process of naming. More appropriately, the history of things has made indispensable the act of naming. This reality has made human beings involved in inventing mythologies. The movements in the Özinal painting recall magmata movements of the earth’s crust before human existence… the dynamic phase of coming into existence, but not existing,etc…

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