



OÇKGD
TR
₺ 40,000
Barış Gülen' More From
OÇKGD is an original composition produced using mixed media and acrylic techniques, measuring 31.5×22.8 cm, carrying both a personal and an urban layer of memory.
The title is an abbreviation: Ofis Çiftçinin Kara Gün Dostudur (The Office Is the Farmer's Friend in Dark Times). The initials of this enormous sentence written on the exterior of the Agricultural Products Office silos at Haydarpaşa Port serve as a silent monument to that great inscription visible when passing by ferry. The artist uses this abbreviation both as a reference and as a cipher: for those who know, it evokes a deep Istanbul memory; for those who do not, it opens a door of curiosity.
When the work is viewed with this background in mind, the vertical forms of the composition take on an entirely different meaning. The long, powerful vertical lines and forms shooting upward now evoke silo chimneys, harbor masts, and quayside structures. This vertical forest of green, blue, black, and red is an abstract reflection of Haydarpaşa's complex and layered silhouette. The dense, compressed nature of the forms mirrors the crowded, busy, and living texture of the port.
The textured ground in shades of brown and red adds a distinct layer of meaning to the work. This ground resembles a wall surface — one eroded by time, weather, and saltwater, painted over countless times, bearing traces left upon it. It carries the concrete shell of the silos, the rusted iron of the port, and the accumulated weight of decades of urban life.
The role of red in this composition is particularly laden with meaning. The weight, hardship, and solidarity carried by the phrase "kara gün" (dark day) find a visual counterpart in the insistent and powerful presence of red. The vitality and hope of green, meanwhile, carry the warmth of the word "dost" (friend). The composition thus rewrites the sentence itself in the language of color: hardship and support, scarcity and abundance, darkness and hope.
The halftone bands in this work can be read as a reference to the inscription on the silo walls — to those enormous letters and their texture on the concrete surface. The combination of print texture and painted surface symbolizes the seeping of public writing and urban memory into the language of painting.
OÇKGD translates into the language of art a visible yet now rarely noticed urban trace of Istanbul. That enormous inscription upon which the eye catches for a moment when passing by ferry — this sentence bearing the ideology, agricultural economy, and social contract of an era — is both remembered and transformed on this canvas. The work is the product of a personal and attentive relationship with the city, and it invites the viewer into that same attentive gaze.
