2010

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₺ 26,000
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2010, composed of two canvases each measuring 24×18.5 cm, conceived as a horizontal diptych totaling 48×18.5 cm, is a composition produced in 2016 using acrylic technique on canvas. The title is a year: 2010. Neither a question nor an explanation — just a date. But this simplicity is deceptive; because choosing a year as a title means marking that year as a feeling, as an atmosphere, and perhaps as a turning point. The work does not tell about 2010; it remembers it. And remembering is always partly recreating. The diptych format is in deep harmony with this theme of memory. Two separate canvases stand like two faces of a single moment: formally expressing the fragmented structure of memory, that a moment can never be fully grasped from a single perspective. The two pieces complete each other but do not fully merge — the small gap between them is like that inevitable loss within time. The difference in color and atmosphere between the two canvases is striking. The first canvas carries a darker, more introverted and heavier energy: dominated by dark green and black, yellow and red flashes tell perhaps the difficult, complex face of that year. The sharp and decisive movements of white lines symbolize a tear, a cut, the sudden transformations within that period. The second canvas has a lighter ground, a more spacious upper area; yellow here is freer and brighter. The emergence of purple, turquoise and light blue tones tells of a different season within the same year, a different state of mind, or how the view of that year changed as time progressed. Strong vertical forms and sharp shapes shooting upward dominate both canvases. This vertical impulse carries growth, progress and the desire to emerge from within things. 2010 is most likely a year when things began or transformed — and this vertical energy is the visual equivalent of that transformation. The fact that yellow has a central insistence in both canvases is important: yellow is the color of hope, energy and the will to live; the color of something that remained alive despite the darkness of that year. 2010 stands at a point where personal history intersects with collective memory. Regardless of which year the viewer was born or experienced things, when confronted with a work that so deeply internalizes a year, they remember their own 2010. And perhaps this is the most powerful aspect of the work: the transformation of a specific year into a universal invitation to memory.

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