NEWS
NON-CANVAS INDOOR
Bengü Bahar presents to us by reconstructing and rearranging an aesthetic level with artist sensitivity, rather than trying to reflect the objects / objects and images that he / she can get close to or around. The objects / objects and images are objectified as an aesthetic form on the surface of the painting, in line with the artist's expression style. In this sense, the artist's approach to the image becomes more apparent, rather than creating a story, as an extension of a search for an understanding of art. In this approach, the story is a form of expression that is not prioritized by the artist, but the image existing on the painting surface maintains its existence as an aesthetic "myth" or "rumor" apart from its own known story. also has the potential to reveal a mysterious "rumor" underlying this selectivity that may come out of the life of an artist, which reminds or reminds the artist's memories rather than a mediocrity. The aesthetic "myth" is a "myth" that already exists on the painting surface with an infinite variability in line with the style of the artist.
No matter what he chooses, the artist reconstructs his chosen forms on the surface of the canvas, as he rebuilt, as he rebuilt. This is an understanding integrated with the artist, in accordance with the expression possibilities of the form language. Following this process, the artist objectifies the images on the painting surface without sparing any material. The material is all kinds of paints, possessing endless possibilities for the artist, having a permanent effect on the canvas surface. Obviously, the artist does not restrict himself, and the form that emerges in this sense becomes a canvas that embodies all the possibilities of the material, has reached a saturation in paint, and is integrated into the material, on the surface of the canvas. developed. In this sense, the paint is carried to the surface of the canvas with different materials, which prioritizes the opposite, which does not delay its coexistence with the brush, rather than a conventional riding style. In addition to the effort to make us feel an effective paint texture, the artist, in whatever form, is presented with a dense and layered structure of the paint, in a sense, the artist also reveals his own attitude. Apart from the form, we can easily see this attitude in the spaces and appearances of the space. In addition, it creates a unique, aesthetic visual effect by using different paints on top of each other. After a walk on the layered paint texture, mostly pastel or colored chalk, the painting completes its process. The artist has not only restricted his style of using paint by form, but has reached the competence of applying it easily all over the canvas surface, obviously he tends to prove his own style language.
While Bengü Bahar focuses on everything that he / she establishes and gets closer to in his life, both indoors and outdoors, between objects / objects or appearances. objectively he does not find existence in his paintings. However, in any space objectified by the artist, we feel as if a few people will appear there at any moment or have just got up. Because in Bengü Bahar's paintings, all these things and spaces are integrated with people, somehow humanized, with traces of human. Undoubtedly, the style language he created in his works is also effective in the formation of this feeling.
The artist's appearances clearly contain the traces of a contemporary art understanding. This understanding, which is clearly felt in the images of objects / objects, is a result of the artist's lack of interest in contemporary art experiences. Because the artist also has a contemporary vision that does not restrict his work to the canvas surface, is open to different experiences and even conducts such experiments from time to time. (Ferhunde ALGAÇ MERİÇ)
ARTİST Modern Magazine October 2008
