Selcuk asked me to write a paragraph or two about his paintings, because, he says: “you taught aesthetics at the uni for decades.” I am not sure how that would qualify me as an art critic, but here goes my two cents…

There is a short documentary titled “why man creates” that won an Oscar in 1968. It remains as one of my favorite sources of inspiration whenever I think about aesthetics. Aesthetic pursuits (experiences, perceptions, sensitivities, and judgements) are as ubiquitous as any other dimension of life, those variously referred to as pursuit of truth (the scientific), plenty (the political-economic), and virtue (the ethical-moral). The film makes that point. I would add that creativity is when aesthetic pursuit becomes integral to any of the other pursuits. Aesthetic pleasure is a human need at the same level as food, shelter and safety and the need for self-actualization. In other words, the need for creative expression is not at the pinnacle of Mazlow’s hierarchy of needs but can be yearned for and achieved at every level. The film describes the nature of the process, making the viewer wonder what is it that compels humankind (and perhaps other sentient beings) to venture into the realm of creation but does not give an answer to that question other than as an innate urge for self-expression.
 

For me, the answer is rather simple. The creative act affords one to be present in the moment, in here and now; as one friend described it: to be “in the groove”. People have different ways of achieving this state of being: some actively search for it, some stumble on it, and once experienced, it becomes a lifelong pursuit. Gardeners, woodlot owners, chefs, and those factory workers and laborers who make a dance out of line-work shown in a tik tok snippet, all know this just as well as designers, artists, composers, writers, and painters. Obviously Selcuk knows this as well. The question is why paint when you are an architect? The response to this question can be long and convoluted; perhaps the short answer is on a poster students paraded in this year’s graduation ceremonies at Devrim Stadium at METU that was signed “architorture” rather than architecture. But let me search for the answer in Selcuk’s paintings.
 

An early painting is a man on a horse in a moor (most likely Sigacik) quite realistic and somewhat restrained by the realism. Several playful and freehand sketches in ink follow.  Then, in his own words “geometry enters.”  It is not as dominating (and domineering) at first, but in his large canvas series, geometry becomes central, conjuring images of buildings that seem to contain and constrain all life: humans, birds, fish, landscapes. He says his paintings are all about “the human” (insan). Yes, I see the human, but it is imprisoned in geometry. One takes great pleasure in discovering something new in these paintings every time one gazes at one, they are like a Turkish carpet in this respect: superbly crafted in form, color, and rhythm and wishes to have one of those paintings on one’s wall. On the other hand, when making sense takes over (a cognitive and instrumentalist look) I see the hegemony of geometry (and buildings!) Despite the dynamism of form and the festivity of the colors, there is a dark side, a profound loss of freedom. However, coming full circle to horses: in Selcuk’s latest painting geometry has taken backstage and horses are free, trotting joyfully. It looks like a new phase is about to begin when not only horses but humans also, may be free.
 

Having said all this, I would like to finish by re-telling a Hans Christian Andersen story about “judgement” (also known as art criticism.) There are four brothers. The oldest is a brick maker. He would pour clay into molds and dry them. When he dies, at the gates of heaven, the angel asks: “what can you show us that made your life worthwhile?” He shows the brick and gates of heaven open. The second brother becomes a mason, he builds walls with the bricks. At the gates of heaven, when he shows a piece of the wall, gates open for him. The third brother becomes a builder. When he dies, he takes the plan of homes he built and the gates of heaven open for him as well. The youngest brother decides to become an art critic. He spends his life critiquing works of art, designs and buildings. The angel at the gates of heaven is puzzled with his answer and the gates of heaven remain closed, and he stays in purgatory for eternity. This is why I am stopping here my friend!