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Emin Çizenel

The residues of our senses and feelings nourish both memory and imagination. The subjective experience of a sensation/feeling is embodied in images. In other words, abstract ideas and similar thoughts can only be reproduced as far as they refer to images. 

 

While individual memory keeps a record of daily events related to the individual's life, social memory occurs as an accumulation of the memories of individuals whose lives are connected by the same geography within a certain period, an event or situation, meeting on a common ground. Art is one of the most essential tools that enable the transfer of social memory to future generations as a mental 'archive'. 

 

Emin Çizenel's art discipline is like an uninterrupted memory record of interconnected subjects archived under a series of headlines created by the artist based on his life story. Çizenel internalises the political, cultural, and ecological transformations and the destruction suffered by the island where he was born and continues to live. Çizenel experiences this Mediterranean island from a political and humanitarian perspective and blends the images formed by these elements in his memory and imagination with references from nature.

 

In forming these serial headlines, we see sections from the artist's life and images that find a place in his imagination. These headlines, which appear as layers in his paintings and the images he uses in his works, are recurring in the artist's works in different periods. The reappearance of the images in his memory in different periods, in similar or various guises, is one of the primary elements that ensure continuity in the artist's work. Although produced months, years and sometimes decades apart, Çizenel's works are fundamentally interconnected and in constant dialogue. 

 

Çizenel's choice of materials is indexical to the stories and memories they embody. In an experimental manner, the artist works with materials that he deems necessary and appropriate within the framework of the subject he deals with in his works. For this reason, we frequently encounter changes in his use of media.

 

While a singular interpretation cannot encompass a thorough examination of the multi-layered universe, Çizenel creates, we can observe that one of the primary resources of his work is nature. 

 

The parallelism between the artist's existence in harmony with nature and his works, as he constantly challenges himself to observe, analyse and reconstruct nature, fascinates the audience and enables them to establish a bond and closeness with his works. One of the most important reasons is that the artist reflects his life story or other stories he has witnessed in his works without censorship. 

 

The root of the Syncopation series from 2005, presented here, is also nature. These forms, which reference nature, appear abstract at first. However, as these abstract forms are positioned within the artist's more expansive oeuvre, they transform. Linear forms representing the rhythm in nature in a painting turn into the dispersed linear movement of water particles flowing from a fountain or the flowing energy of rain in other paintings. 

We can say that what Çizenel has been trying to do through his art for years, in addition to forming an artistic language, is also configuring a 'historical memory record' that will contribute to the creation of the social by starting from the individual, which becomes the fate of those living in this geography.

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