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0 535 624 33 33 istanbul
Istanbul (Turchia)
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tel. 0 216 3564073
email: aoztopcu@yahoo.com
web: mimoza.marmara.edu.tr/~avni
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Opere
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85 Merkezli Kubbe (A)
oil
on
canvas,
65x54 cm,
1994
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Aralýk
oil
on
canvas,
97x120 cm,
2000
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Gezgin
oil
on
canvas,
160x92 cm,
1994
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gezici
oil
on
canvas,
86x150 cm,
2001
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Biography:
1962 Born in Erzincan on February 12
1980-84 Undergraduate study in Marmara University, Atatürk College of Education, School of Arts,
1984-86 Graduate study in Mimar Sinan University, Major Branch of Painting,
1987-89 Ph. D study in Mimar Sinan University, Major Branch of Painting,
1989-90 Compulsory military service.
1991-91 Employed as the art reporter of SON BASKI daily newspaper.
1991 Joined the Painting Department, Atatürk Faculty of Education, Marmara University as a research worker.
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Curriculum vitae:
INDIVIDUAL EXHIBITIONS
1986 25 November- 2 December High Diploma Trace Work Exhibition Mimar Sinan University, Mimar Sinan Exhibition Salon
1988 7-28 November, Yonca Modern Art Gallery, Istanbul
1989 3-6 July, "Sanatta Yeterlik" Trace Work Exhibition, Mimar Sinan University Osman Hamdi Salon, Istanbul
1996 15-26 April, University of Yýldýz Technic, Y.S art center, Istanbul
1996 1996-2001 lasting, H62 Studio Exhibition, Feneryolu-Selamicesme, Istanbul
the exhibitions he participated (abroad)
1997 Marmara Üniversitesi Ogretim Elemanlari. Karma Sergisi Bregenz, Feldkirch, Villa Claudia Galerie-AVUSTURYA
1999 "Karsilasmalar 4" A.K.M., Lefkosa-KKTC
1999 Özdemir Altan "Karsilasma" projesi ... Kunstverein Lippstadt-ALMANYA
online
H. Avni Öztopcu - Istanbul
Beyond his structured worlds of art education,
research and publishing, Avni struggles, as a
painter, to put the abstract world into an
objective shape. >> www.art-is-life.com/art.htm
Wagner Bazarin Art Gallery.........
art exhibition from H. Avni Oztopcu
www.bazarin.com/haoztopcu
Babale Arte
http://www.babelearte.net/tipoartista.asp?arid=274
art exhibition from H. Avni Oztopcu
www.h62.sergisi.com
CRITICS
H. Avni Öztopcu's "Road of Place" In his early works (1985), he used black which he defined as "darkness" and white which he defined as "light" as his basic tools.
We see that he tried to reinforce the geometric speculative integrity of the stratified contrasts created by lighted crystal brightness of the mechanical objects which he places inside the dark spaces with their grayish-white gradations, together with diagonal planes including amorphous motives with elements of connections, motion, repetition and texture. In his later works (1986), while contrast created by motion in the earlier stages where being replaced by perpendicular and horizantal forms in conrast, rythmic elements making the geometric planes of mechanical objects took the place of contrast forms (Amorphous-Crystal). Grades of grayish-white transformed into grades of colour. The rythmic elements of repetition prevail their mechical structure while in search of their appropriate place and function. It is not difficult to see that the reason for this change in H. Avni Oztopcu's paintings is connected with his orientation towards "colour" and "motives" which gained significance in his works. In fact in his later works (1987) these two elements constitute the fundamental structure upon which he builts his drawings. The function of the black and white contrast in his early works are now transformed into the function of colour contrasts. His passion for black and white contrast has been transformed into grayish spaces and passages which he used in his drawings.
While mechanical decorations take the form of organic textures, "Planimetric" structure has been adopted with respect to space as a result of this approach. (Muammer Öner; H. Avni Öztopcu's 'Road of Place', Sanat Cevresi. Issue no.121 November 1988 Istanbul)
EXLAPLANATIONS
The quotation of "I have been dealing with the problems of puttin the abstract world which has been established in minds into an objective shape with the power which a human being holds in materializing things" has been an explanation of the direction of my activitics in Art or the specification of my desire in my field of interest. This work and this introduction will give the proportioned explanation of my pictures.
The thing of contact which is formed beyond our conscious of my estimated conceptive world has not existed on the whole. This imaginative world which has been constructed under constructive activities and turned to reality within the subjective borders emerges in an abstract shape.
What provides the idea of the artistic ground in this set-up abstract world? Does the outside extinction of the clarity on the whole restrain the ground idea? Answer to these questions are searched in this work.
Something is enclosed as an object in every mental incident; the tendency to this object is supplied by the capability of the man to materialize things. On a ground, dependent on object, the visibiliy and the audibility of the objects contribute the idea of ground. The discrepancy among the transportables that this set-up ground carries is an alien appearance, or as I have often mentioned, a contrast appearance of the transportables. The visibility of the transportables on ground, the classification and the declination of this visibility is the expression of an artist.
The search for an obvious space between the extreme points of the conrast, looking for decisiveness and fitness have approached me to a drawing structure. The method I have grown to see the style has taken over the duty of definiteness. Although every portion of my pictures is linked to the whole unity tightly, they trend to have a kind of independence. This independence is not a vagabondage. The individual portions are reliable on the whole, but not lost the touch of independence. So, it makes the viewer see the picture by joining one piece onto another, passing from one portion to the other one. This is a cooperative work of the combination of the independent pieces.
The clarity of my pictures clings to the visibility of the shapes. Yet, the vagueness is not contributed to the outlook of the individual, but to the meaning of the combination on the whole unit. There is no contact in the whole combination and it is not expected to be one. The clarity in the shapes is received by enlarging the contrast. The shapes enter nature in piece by piece lacking wholeness just as they do in conception. These elements isolated from nature are going to be conceptive abstract existence. The contact of the combinations in both positions lies in the thought.
In my pictures, the contrast of colour, species and fullness becomes stronger when the contrast in respect-emerges. The cotrast in respect of horizantal and vertical contrasts. Even if there is an opposite of each direction, it is not made balanced in my pictures. It is often required to have one direction (respect) more obvious than the others. Horizantals and verticals do not exist only in respect, but they also have taken the leading parts.
In placing arrangement, when the cotrast happen to cling to the sides, one gets the impression that the picture is made within the size of the frome, instead the picture being an outsider in its frame.
Some of my outstanding picture among the others I have made at the end of my work fixing the respect and the field of my Artistic activities are explained by their own names is in a proportioned style.
We know that any process or a part of a construction or arrangement can not be fixed beforehand. Up to now, I have tried to write down my artistic approach in words (orally). This trial explanation and all the constructive and arrangement work can only be a messenger of new journeys.
i n t e r n e t w o r k s
1999 started to put his "ders BELGELIGI" works on internet
1999 November, started to put his "erken UYARI" on internet
1999 started to publish "Avni Oztopcu Painting Exhibition" on different adresses on internet
2001 started to publish "Erzincan Archieve" on internet
2001 he started "H62 Art Gallery" trial publication
www.belgelik.sayfasi.com
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Ultimo aggiornamento:
domenica 27 Marzo 2005
Visitatori dal
17/7/2001
: 60286
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