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Tolga Alper Guzelsoy

Conceptual Description of the Work:

11When saying that the Distortion is not only limited with the hybridization zones of the aforesaid concepts; it can be said that these exterritorial pale objects which influenced the East has gone through distorted forming and hybridization process in all these places which is in contact with art. The content of the context are no longer organically correspond to th forms of the outside. Socities which passionately embrae the idea of protecting the so-called hybridized form of all images and forms belonging to the cultures against the ones at the other pole, willingly or unwillingly find themselves and all of their skills melting in the same with the West. “Transformed images reflecting the exterritoral pale objects are “ahead” of the world in terms of history; as a result this creates a tremendous distortion spherre where all the objects are all over deformed; both handicraft objects and manufactured objects. While handcrafted object blends with with the self-caricaturized modernism in a weird way, it begins to contradict with the world that created it in the first place; on the other hand, the manufactured object is going througha form change due to thick layer of life coing from the within the wide spread framework of Tradition reduced to its own sub-reality. (Shayegan, 2014, s.419)


Objects seems to be the reflection of the “whole” which is in contact with the person. In this context, if the objectivity is becoming fictionalized, then the subjectivity that forms the objectivity is fictional. Daily use objects, representations of aesthetic taste in life and productive objects seems to be important in the male dominated societies even from the social aspect rather than personal. Obsessive wish of recent masses to “come familiar” the objects which changes with “a new” both in spatial and humanitarian terms creates a phenomenon for the object which is alienated from its function. This wish for humanization shows similarity with the constructural element at the ornament elements which is a determinant factor in eastern people’s surface approach. This relation is reflected to the industry as sharp edges and ccorners and when it is associated with these, the man would want to protect the “self” by dividing what is flawless from these edges and corners.


Saheygan reveals a similar relation from the example of taxies in Tehran and underlining the striking elements of decorations of these taxies. Moreover, the same can be experienced in the geography we live in during our daily life. It is possible to witness the same in any corner of the Third World. In this context, car gained a second life which blends in the earthly function of the eastern beliefs. Thus, “car” is a product of industry and a Western object. These regular objects transform the existing, objects that shapes the environment.

We, the people of periphery, have been living in the midst of conflicts between the different information blocks. We are trapped in the crack in between the incompatible worlds that is pushing away and mutually deforming each other. When accepted with clearity of mind and without feeling any resentment, these two terms can enrich us, develop information logs and expand sensitivity range; however when information is alienated from the critical sphere, the very same terms impede the approach and it deforms the world reality and moral images just like a broken window. Modernity was never considered objectively as it is, in other words, in its original philosophic content; it was always evaluated according to our traditions and traumatic transformations created by our life style and mentality. At the beginning of Islamic world’s encounter with the financial power of the West, it greeted this power with adulation at first when it realize their delay and gap between itself and the Europe with a big surprise; the resurrection of its wildest phantasm due to influence of the West was considered as wicked. The first reaction was as exthuastic as it can be and on the contrary, the second reaction adopted the histerical language of obsessive rejection. (Shayegan, 2014, p.11)


Types of Eastern Culture trying to remain loyalt to traditions at the encounter points such as the aforesaid experience with the “West” will have the opportunity to eventually endure in the new while seeking new expression opportunities and exist in a Post-modern reality when they have this opportunity. Actually, at his particular day, it seems that none of the sections of social, aesthetic and intellectual life cannot be protected against this distortion. As it is also observed in my ongoing study, in my artistic expression opportunities which I try to form by articulating what is left behind, it was dreamed to mount the one which shall be matured on this distortion and upcoming hybridity concepts. The relation which is tried to be established is originated from the positive belief towards being able to comprehend the old which is formed again in this geography. Iranian author Daryush Shayegan rather than evaluating the aforesaid concepts ability to shape the cultures on the same circles, definesconcepts cultures as the intersection points which penetrated each other due to influence of Modernism and whose borders cannot be drawn with sharp lines. Just like living in between, like living in “limbo.” “Regardless of their origin and creed, all cultures have experienced this impact of modernism, in other words this top down immigration of mind. Now, we are all living in mixed regions; We are living in places where all the sights– also the sights approaching the things like the past; meets with the sights shaped with technique, development and history.” (Shayegan, 2014, s.45) How would Cezanne would consider cube-globe and cylinder if he was living in today’s world?