Oya Abacı

£2.000,00

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Artwork Location: Türkiye
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    Author

    • Who is Oya Abacı? (1958-Ankara)She was born in Ankara . After completing her primary, middle, and high school education in Ankara, she enrolled at the Istanbul State Academy of Fine Arts, currently known as Mimar Sinan Fine Arts University. She graduated with a master’s degree in 1984. During her studies, she received painting classes from Neşet Günal and Neşe Erdok, printmaking classes from Asım İşler and Alaattin Aksoy, and photography classes from Cafer Türkmen. In 1985, she went to Paris and conducted research for six months on art and museum education in various European museums. In 1987, she encountered children’s art for the first time. For five years, she undertook the organisation of informal art education and art history courses for all age groups among the courses run by the Istanbul Painting and Sculpture Museums Association. In 1992, she began working at Marmara University, Atatürk Faculty of Education. In 1996, she received her proficiency in art from the Social Sciences Institute of Marmara University with her thesis on “Museum Education.” As a faculty member at the same university, she taught courses in art education, art and aesthetics, and history of civilization and art. She conducted academic research on the relationship between form and meaning along with the educational function of museums while supervising theses, and authoring art education books for all ages. Her monthly art articles were published under the title “Journey in Art.” She continues her artistic work in her independent studio. In addition to solo exhibitions, she has participated in national and international group exhibitions and curated several group exhibitions.Artistic Perspective; Art is the first intellectual act of a human being. Therefore, I acknowledge that artistic productions are not merely objects to be viewed but also possess intellectual sub-layers. My works have emerged as a result of developing my own visual language of expression through observation, research, and sensing the aesthetic aspect of form. I want my paintings to evoke a conceptual inquiry both within myself and in the viewer. Although I did not break away from figurative tradition, which I gained throughout my education, I have allowed myself the freedom of making different arrangements on the canvas. Nature has always been a field in which I question life. I question the relationships, friendships, loves, confrontations, opposites, conflicts, and transformations brought by being together through natural forms. My compositions generally do not have a defined space. The absence of a defined space does not limit ideas; rather, it allows broader questioning of human and suggests that it could be anywhere—this idea also obscures the sense of time. I would like to construct a network of relationships with various beings that is valid everywhere and at all times. In the recent times I’ve been frequently using the forms of trees and fish. For me, the tree is a symbolic form that changes and transforms with its own internal dynamics. It holds tremendous power, able to create itself from a tiny seed through its inner energy. Trees can be thought of as individuals or societies. I interpret the curves of their branches and roots as complex human relationships. Often, these intricate lines are enclosed within a circle. This could be thought of as the world or the universe. The fish symbolizes that life began in water. It is a journey of being rooted while freely drifting wherever one desires, eventually coming ashore and continuing a voyage through time. Hasn’t humankind reached this point by transcending countless myths throughout history?

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