+++About Drawing+++

free hand drawing +++++++++++++++++++

2014/2015 fall +++++++++++++++++++

istanbul technical university +++++++++++++++++++

.020090003

drawing from MEmory

DEtail drawing

BLind Contour

se. through HAtching

ENgraving

paintin' theMOvement

draw. NEgative space

VErtical panaroma

draw.through SCratch

COllage

draw through BOdily

draw through CUtting

17.09.2014/studio

15.10.2014/eyüp

19.11.2014/zincirli han

24.09.2014/yıldız woods

22.10.2014/barbaros.bou

26.11.2014/salt galata

01.10.2014/be.passages

05.11.2014/çukurcuma

03.12.2014/harem

08.10.2014/üsküdar

12.10.2014/sapphire

10.12.2014/imç

pen

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watercolor

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oilpastel

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watercolor

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pencil

heavypaper

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heavypaper

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DRAWING FROM

MORY

There is no real in the past (past is not real), there are different realities about past.

We experience things through the realities we have created. (point of view.)

These altered versions of "what we think we saw" depending on differentiation of our subjective ways of interpret.

When we remember something, we actually re-create a reality from the experiences we lived before. In other words, remembering is not about discovering, it is about creating. We always remember (re-create) things differently, because we interpret things differently. (We have different personalities.)

Therefore, when we draw the images in the studio, we all draw different versions of the pictures we saw. Another thing, at least for me, it was not just about to project an image in my mind, it was a creative act and there was no certain image I planned to draw. I simultaneously re-created (remembered) images through drawing them.

Actually there wasn't another chance because we saw the images in a very short time, there was no time to perceive them in their 2-D existence. I think this method increased the diversity between our remembering's.

past.present.future - ouroboros

01.ME

TAIL DRAWING

This is not a tree.

Our perception about things are adapted to certain scales. (Human scale) Due to our physical and psychological features; we perceive things in similar scales.(we all hear things in a certain range of frequency, we can't see very small things like micro-organisms, most of us have similar instincts, etc...)

Because of the similarity between our individual perceptions, when, one talks about a tree, another probably understands something very similar to what he/she mean. This is what have called "common sense". We abstract certain features from the things we perceive, to adjust them to our common sense.

Focusing on a certain detail this closely was beyond my routine perception. It was a rapid transition from the "human scale" to the scale of wood cracks, peaks and traces. In other words: disengagement from common sense.

First when I sit in front of the tree to draw it, I couldn't do anything because of this rapid transition to an unknown world. In that scale, my presumes about things were not useful to define the detail of the tree. Later, I abandon the idea of composing "what I'm going to draw", and just started to draw "what i look". My eyes shuttled between what I intent to draw and what I draw. In some point it was not about only seeing it but also being with it.

I think in this case, the act of drawing provides an opportune moment to discover the tree "as it is". Through the act, the tree had lost its meaning as I defined it before, it became a singular entity with all the details it has got.

signifier and signified - sausurre

02.DE

IND CONTOUR DRAWING

Continuous _from con (together) + teneo (hold) conteneo // hold or keep together/close Broken whole Space exists with the things it includes (the objects, the events, the time, etc), there is no absolute space. Thus for each situation (when the things have changed), there is a different space that we can distinguish from its other versions. These fragmented situations are connected each other with the notion of continuity (time), to be regarded as a whole. In other words, time is like a glue which holds different fragments together.

Blind contour technique had separated me from the wholeness of the space. While my eyes and my hands follow continuous lines, they lead me to different scales and parts of the space. In the drawing process, in my mind, there were no whole and stable space, there were unstable, alive fragments that I draw in different times. However, because of the technique (rule of not lifting the pen) transition between these fragments were not strict, contrary it was smooth and continuous.

A continuous line created and connected these different fragments. I guess therefore, the finished drawings somehow gave an idea about wholeness of the space in their own way, which i found very interesting. It was like drawing the time.

an illustration of the space-time

03.BL

SECTION THROUGH

TCHING

Real is complex. In order to understand the real we have to simplify it through formal systems: languages. To constitute this formal system, we reduce/limit this complex-real to some simple artificial features as such: red, apple, solid, concrete, etc... From this point, language refers to displacement� between the forms and the beings: We limit our world through forms (reduced reality) to perceive it.

I think hatching is related to this selective perception. Due to the limitations of this technique, we reduced the features of things based on certain aspects. For me, I couldn't transfer the shades or the details, etc... to the paper, I could only transfer the information about masses (depth) through hatching. It was not by choice, the technique itself had restrict me to do otherwise. Because of this limitation, my way of seeing also became selective, I didn't notice anything but the cantilevers, voids and walls.

On the other hand, in despite of simplifying the complex reality, I think these drawings are still close to real. Because there were no pre-assumption about the real but there was a translation between what i look (the being) and the what i see (the formation). In this case, hatching was like wearing some glasses which works like a filter narrowing down our perception. From this point, experiencing things through a filter lead me to understand and compare them based on common features.

L I M I T S OF MY L A N G UA G E MEAN THE LIMITS OF MY WORLD

a quote from wittgenstein

04.HA

DRAWING FROM

MORY

04.HA

GRAVING

ing.

Engraving is about shifting in the mean-

In this technique, I guess, I tried to create a new relation between the things which are not usually related. Technique subtracts the form from its usual meaning and tries to adjust it to represent something much more different. (a leaf wasn't representing a leaf anymore, it represent as a part of a wall or an urban fabric)

In this sense, the tools we use gains an importance and i think, it is the main challenge about this technique. Because the materials used had got much defined form (not only in physical meaning but also in our minds) it was really hard to adjust them to what we see. Perhaps the trick was to adjust the way we see according to capability of the materials.

- usual orientation - disorientation

05.EN

PAINTING THE

VEMENT

man walking down the stairs

The time between a moment before and a moment after=the time passed while the water leaving the dye

06.MO

DRAWING

GATIVE SPACE

Negative space drawing was about to see what is absent.

The things we called existing is actually, what we choose/get used to distinguish from amongs the other things. Therefore, the absent is the thing we can't/don't perceive even if it exists.

As in example of rabbit/duck illusion; the minor shock when you realize there is another animal in the drawing is related to the change in the way of seeing. There are different ways of seeing, and we are inclined to choose only one of them. (we can not perceive rabbit and the duck at the same time) As mentioned above, drawing negative space was a good/hard challenge to see what we don't normally. Focusing on what is not there, made me realize the existence of the "other" space.

rabbit-duck illusion

RTICAL PANAROMA

panorama : all.view from pan(all)+Greek horama(view) Without changing your point of view, it is impossible to represent a panorama. Because, panaroma (more than its usual meaning) implies to be containing various faces of a certain object.

Therefore, to draw panorama, subject has to change itself (because the object is certain), to comprehend these different faces. In other words, panaroma is the totality of different perspectives.

A city contains different situations at the same. In cities this difference is distributed according to its spatiality. From this point, the city and the panaroma is quite similar in an analogical way. They both implies co-existence of different perspectives. Therefore, drawing panaroma is an efficient way to transfer these different situations as a whole.

On the other hand drawing panorama -vertically- enabled me to see these different situations more apparent. In verticality, the changes of the city was so dramatic actually they can be considered as different sketches.

parallax = perspective shift

perspective a

perspective b

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perspective c

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08.VE

perspective d

DRAWING FROM

MORY

08.VE

DRAWING THROUGH

RATCHING

carving - extracting meaning from solid

Scratching is similar to the act of carving.

Carving is the act of using tools to shape something from a material by scraping away portions of that material. In this sense this technique has a reversed process, to apply this technique a background/foundation needed to be formed. After all, scratching is about extracting the meaning from solid.

09.SC

09.SC

LLAGE

Eisenstein regarded montage as a dialectical means of creating meaning. By contrasting unrelated shots he tried to provoke associations in the viewer, which were induced by shocks. In other words, Eisenstein was aware of interpretable nature of the reality.

With this approach, the space itself has a relative structure. When we walk into a certain space, we don't just be there, we also associate that space with "where we came from" and "where we're going to." Therefore, the space is not a certain-stable notion, it is an interpretation and co-existince of some other spaces. Thus space -maybe we should call it place now- is a complex entity.

In this sense, collage is very similar to film editing. In collage, the simple enitities (extracted from complex reality) somehow re-defined and re-arranged to represent the reality. In other word, collage is a creative act to getting close to the complexity of reality.

eisenstein is editing a movie

10.CO

10.CO

DRAWING THROUGH

TTING

south park using cut-out animation

information of front, back, before, after, etc...

Among other techniques, cutting is more architectonic technique. Even though it is applied on 2-D surfaces, at least, it has got a primitive spatial feature:the information of front, back, before, after, etc... In cutting technique, these information is transferred via layering (one of the layer is in front the other is back). In this sense, the cutting technique isn't just about representing the spatiality but actually it is creating spatiality by itself. In other words, this work has got its own spatiality.

12.CU

pen

02

watercolor

06

01

05

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oilpastel

03

pen

watercolor

07

pencil

heavypaper

11

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pen

04 pencil

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heavypaper

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