On the personal exhibition titled
"Susmanın Kenarında… Işığın Ortasında…"
A light is burning in the middle of time
A painting remaining from Rembrand, this sea
Now all beauties are fusty, a lie without you
Like desperate grass on the earth
Here we are together in the farthest places
A painting remaining from Rembrand, this sea*
*Distant Lights, Ümit Yaşar Oğuzcan/ Translation of the poem: Derya Çolpan
Deniz Bayav is the painter of life in which the human being with all his existence is at the center but she is an artist of pure pictorial emotions with no pretension at all. Her paintings are the stories of experiences that the eye sees and the mind does not reject in creased photographs, of the “individual” who sometimes takes refuge in nature and sometimes tries to find his way behind city silhouettes in the face of this unstoppable flow that we call life. The figures of Bayav seem to relive all their experiences at a glance, in a tiredness, in a distraction, in a moment of surrender, in the shame of repeating themselves. These city-weary people, without separating time as past, present or future, surrender it to their thoughtfulness, gaze and sadness with an endless and boundless simplicity. Perhaps by forgetting.
The artist, who says, “The best way to describe the nature of man is not to create big dramatic compositions and add symbolic references to them but to get to know the individual with its past, sorrows, shelters, happiness, thoughtfulness and ambitions and its conditions in the city-country”, thinks that a photographic frame sometimes tells a whole human story.
The viewer feels that this spirit of pureness and depth in her colors and forms also spreads to the objects in her prints which are the other part of the exhibition and they are the partners of the sadness, pureness and desire to escape that complement the mood of the portraits.
The artist, who focuses on how she tells as much as what she tells, also likes to play with the canvas surface, which she does not consider as a background. Bayav, who made some of her paintings on cardboard that she formed, some on papier-mâché and some on special surfaces that she created herself, breaks the monotony of the surface with torn or creased photographs in the previous series; tries a similar fiction by separating her paintings into two different layers in this exhibition. Illuminated forms can be thought of as references to the ‘mandorla’ and ‘halo’ having historical background and meaning, while emphasizing the uniqueness and sanctity of the ‘individual’ in her paintings, in which the ellipse gives a new meaning and fictional layer with illuminated forms. The multiplying and intensifying layers of meaning of the fiction in the exhibition will increase with the light brought to the figures and spaces by the audience, who comes to the exhibition with knowledge, as well as the lights in the paintings.
Translation of the text: Deniz Bayav