Cemile Bulut

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No Name One, 2011 Paper, Pencil and Ink 36.5*56.5 © No Copywrite
No Name Two, 2010 Paper,pencil and Ink 22.5*38 © No Copywrite
No Name Three, 2009 Paper,pencil and Ink 23*39 © No Copywrite
No Name Four, 2010 Paper and Pencil 30*40 © No Copywrite
No Name Five, 2009 Paper, Pencil and Ink 23*39 © No Copywrite
No Name Six, 2013 Paper, Pencil and Ink 30*40 © No Copywrite
Quick Facts
Birth year
Lives in
Works in
Painter-Paint Artist-
Art Academy Istanbul
Representing galleries
Petrol-Is Union Gallery


Cemile Bulut was born in İstanbul in 1980. She graduated from Akademi İstanbul Graphic Arts Department. She started painting in 1992, and exhibited her early works in 1994 in İstanbul. In 2004 she participated in a group exhibition in İstanbul. In 2007 she exhibited her works at the Petrol-Is Union Gallery in İstanbul. In 2013 she exhibited her works at the PetroL-Is Union Gallery in İstanbul. In 2014 she exhibited her works at the Start Art Academy Gallery in İstanbul. In 15.April.2014 at World Art Day she exhibited her work at Sinop. In 02-03.08.2014 she participated in a group exhibition and workshop in Sinop-Gerze 41.Culture and Art Festival.Her art studio at İstanbul. In 03-09.11.2014 she participated in a group exhibition in Kosova Prizren.

In the pentures (a word coined by the author to describe her pictures made with pencil) , Cemile keeps on testing the possibilities of black-and-white, and produces pieces of art giving a taste of engraving. The striking impact of the pentures relies to a great extent on the use of the evocative power of tones. The black-and-white acquires an independent colour strength.

As the objects and figures picked up from reality enter the rectangular frame of the pentures, they experience a metamorphosis and are transformed into a component of a fantastic pictorial world, gaining an aesthetic identity. The juxtaposition of unrelated elements strengthens the effect of this world.

In this context, her personal iconography, which is a significant element of her pictorial language, tends to take shape. In her pentures some motifs are hard to read in their metamorphosed form, but it is these forms which give them a special flavour.

Pictorial language of Cemile, as Kandinsky put it, arises from an “internal necessity”, and on that sense, it profoundly “touches the human soul”. It obliges one to question the interaction between life and art. 

Let's give an ear to this silent voice. It tells about our sorrow, our hopes, about withdrawing into ourselves and opening ourselves to life, about our fears and courage.