Chicago | Los Angeles | Miami | New York | San Francisco | Santa Fe
Amsterdam | Berlin | Brussels | London | Paris | São Paulo | Toronto | China | India | Worldwide
New York
Paintings of Gulten Imamoglu

Ambiguity functions as a curtain hiding negativenesses which is created at the environs of art, in the world where human is faced with dearth and massacre and has been unimportant. In an environment where artistic concepts and designs devoid of content based on assumption are dictated to us as pieces of art, the point we are standing is that, these propensities are trying to exclude real artistic thought, style and creative workmanship from life with slandering them. Indeed, seeing real pieces of art as reactionism is a natural result of this process where presentation of an idea in a manner which is not permanent and hastily and carelessly turned into fashion. Unnecessity of the creative ability which is stripped from its natural soul should not be seen as abnormality. In this new process, traditional art based on creativity in a sense is trying to be excluded by a supreme manifest(!) which is sanctifying ordinary objects with simple arrangements. Creativity is put in a place far away from the artist's existance by patching the soul of the artist which penetrates to his/her works to a show that smells art.

Gülten İmamoğlu, who settles her artistic designs on the slippery ground of abstract figures, is an artist who manages to deconstruct "incomprehensiveness" and "to explain the meaning" features of abstract art which are commonly accepted. She helps us to understand the abstraction by catching us from another "lane" in an environment where the art is metamorphosed. She makes us comprehend that colors are artist's maneuver area. Without falling into the trap of today's propensity which has been turned into fashion recently, she manages to turn her paintings into a concept. She adopts the universal phenomenons like birth, death, life and motion with the countercurrents of painting's abstract expression and makes death usual, life dynamic and movements clear. In a sense, she prefers to imprison us into her paintings which makes us meet our inner selves.

Gülten İmamoğlu is an introverted artist... It is obvious that she likes to bring the light of an invisible universe up to the surface. She introduces herself as a color worker to us. She makes the colors livable and touchable by saving them from fake colored visual world. By bringing together her intuitions and utopias with spectators reality, she associates them with the meanings of colorful and dynamic paintings. Images of the artist, which makes life and death related, moreover connected, are seen at the same platform on life and death planes equal and identical. She manages to bring together dynamism of beauty with stability of death, infinity of thought with concreteness of art and mercilessness of reality with livability of dreams. Colors are not seen as colors in her paintings, but as a vortex reminding of a natural disaster. Opening our eyes to far horizons, they actually deal with meaningful and unexpected blows to our inner world. Its caressing is like a heavy slap on the face, its fluidity is like an escape sometimes borrowed but intractable. To tell the truth, painter seems to be skilled enough to escape from us and to take shelter in her colorful universe. She likes color countercurrents and she does not hesitate to shoot us with that gun. Defining Gülten İmamoğlu as an artist who attacks to colors and defends herself with colors will not be wrong, as she makes her colors a hurtful poison, an indispensable exuberant, an idolized death and a livable paradise.

Gülten İmamoğlu`s paintings exalts an abstract language where figures are mixed by dancing, in a sense. She paints chromatic motions with a figure fastidiousness and carries us to a perception ability, which is familiar to us. She concretizes the indefiniteness of figures with meaningful integrity of colors. Thus, she makes a personal, original and clear contribution to figure translation we took over from classism. While the paintings act as examples of the contemporariness which she had internalized, they do not estrange to the traditional art forms. Hence, on one hand they are academic, on the other hand, they wink to prodigality of a spendthrift bohemian. While they are displaying the reflections of an adventurer soul, they do not relinquish from a domestic sacredness. They are confidential but they make an incited sexuality dominant power. They gird us with integrating an infertile motion with a prolific image.

 We really have to understand Gülten İmamoğlu`s directing her emotional and creative impasses to us as a heavy criticism. Because, when we consider the artistic environment as one of the most important facts for art to develop, worries of the artist, who is working in Samsun as an academician can be understood better. In this respect, isn't her painting's not being far away to an acceptable anger inevitable? While Gülten İmamoğlu is converting the color to expression, motion to action and form to life, she also makes contribution in converting the lonely struggle in a barren art environment and anger to art.

 When we turn back to contemporary Turkish painting, we cannot turn our head away from Gülten İmamoğlu`s ability of specific workmanship which is unprejudiced and away from imitation, who is running on a different lane with her simplicity and the forms she constituted. In an environment, where many painters are submitted to reality of photograph and see the impasse of ambiguity as an abstraction, paintings of Gülten İmamoğlu not only makes us look at them, but also brings movement deeply to our perception by imprisoning our conscious into its motion. Dynamism acquire originality, personalize and traditionalize in these paintings. They cry the great meaning of creativity and effort against artistic games, becoming widespread. She responses painters without any background and the ones who say "I did, so it`s OK" with her paintings where we can find her spiritual universe. She even does not recognize that she is signing an original interpretation. She had lost herself at the countercurrent of images, that's why she is acting as bewildered, timid and shy but on the contrary, at the end of these lines, just saying "hello" to Gülten İmamoğlu will not be enough, who is a long winded, productive and a creative artist. But I cannot help myself saying: "Let your colors invite us and let your images make us dizzy forever!".

Çerkes Karadağ
Istanbul. 30.03.2005


Posted by GULTEN IMAMOGLU on 4/10/09

Nice to see your art works. Welcome to see my photos.

Copyright © 2006-2013 by ArtSlant, Inc. All images and content remain the © of their rightful owners.