Tayfun Erdogmus New paintings

2 November, 2012
4 December, 2012

Tayfun Erdogmus' paintings, sometimes very large-scaled, are characterized by texture and dynamics, the securing of evidence, concentration – but at the same time leaving room. On the canvasses, impressive interferential, ornamental structures and monochrome color surfaces are developed.
Seen from a distance, a very fine web of rhythm and color seems to become visible with a diffuse bright surface and a stunning three-dimensional atmosphere that might be sensed on prolonged observation. But it is only on closer inspection that one can see traces of interrelated, finely superimposed layers in the spatial depth. The material forms turn out to be herbal elements, delicate petals: immediate visually and sensually - an atmospheric object approach. The leaf shape is characterized in Ottoman Oriental Room poetically charged as a separate item determines its images.
The complexity of the color structures of the underlying linear and planar image elements becomes clear only upon a close look: metallic elements seem to flash through, a visual abstraction on the surface - a conceptual object definition. The colored backgrounds are the basis for surface composition and depth.

Lined up and arranged leaf structures seem to gradually dissolve into the spreckled colored fields and develop spatiality and space. A fictional space. Amongst the flower structures awaits further space, finely engraved, and further down in the depth – even more space.

A commitment to the vagueness of the space, a look into something that almost becomes an outlook. The works are characterized by a special focus and blur understanding.

The images are both open and closed, impres-sive and constructive, they combine orders with atmosphere, test rhythms, structures and constructions of the pictorial. A conceptual and controlled clarity. They rely on the knowledge of the ancient tradition of herbal ornamen-tation and on the suggestive power of the ornament, At the same time, they refer to elements of oriental art, of calligraphy and arabesque.

To interlace these polarities may be seen as one of the key points in the work of Tayfun Erdogmus: thus, he creates a connection between the "securing of evidence", calli-graphic or ornamental to a very contemporary yet individual visual language. (M. Becker, Berlin 2012)