Kırksekiz Haftada Çiftini Bulmaca by Leyla Gediz
20€
Publisher: Ofset Yapımevi
Author(s): Leyla Gediz
Language: Turkish
Format: Softcover
Size: 10 x 12 cm
Edition: 1st Edition, 2004 İstanbul
Pages: 190
ISBN: -
Related to ThisPlay exhibition.
Leylâ Gediz lives and works in Lisbon / PT
She is represented by The Pill Contemporary Art Gallery in Istanbul / TR and Purdy Hicks Gallery, London / UK
Leylâ Gediz approaches painting as a thought process and a discursive practice to explore the relationship between figuration and its conditions of possibility. Using a limited color palette, her process-oriented practice incorporates fragments from everyday life as filtered through contemporary image processing technologies. Her paintings are structural experiments that dislocate and rearticulate the background-figure relationship to simultaneously deconstruct painting into its constitutive materials and processes, and rearticulate it through techniques of assemblage.
Gediz’ painting is about recomposing the world from the standpoint of what is usually held off the frame, with attention directed toward what constitutes the support structures of daily life and of painting as practice. Cardboard boxes, packaging units, stretchers, cables and joints made to be compatible with objects they support, connect and protect, take center stage in her compositions. Attempting to define a perspective through the margins, taking as point of departure subordinate and nomadic positions of bodies, objects and tools, Gediz operates like a surrealist ethnographer of displacement and diasporic being, engaged in excavating emotions that everyday fragments emanate when they are carved out of their literal and metaphorical backgrounds. These fragments are played out by random, found, mundane yet useful objects, human beings close to her heart, the light and shadow they cast on each other, and their – sometimes awkward – volume in space. At first sight, Gediz’ compositions seem to carry a tribute to the grid as the primary form of spatial organization, repeated through the forms of the canvas, the stretcher, the screen and the network; but the meticulous painterly operations of shading that distance every other fragment from its background fully reinscribe them in the realm of mimesis. Through her subtle painterly composition, Leyla Gediz conveys an unstable, strange and hybrid reality, hovering in that fragile zone between fiction and non-fiction.
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