Ünal Kuş

Selected Mixed Exhibitions, Workshops and Symposiums;
1987 DYO Painting Competition - İZMİR.
1987 48th State Painting Competition. Ankara, İzmir, İstanbul.
1988 Physical Education Painting Exhibition, ANKARA.
1988 International Bandırma Bird Paradise Painting Competition. BANDIRMA.
1988 49th State Painting Competition, İZMİR.
1988 DYO Painting Competition - İZMİR.
1988 Traditional 11th Tekel Painting Exhibition. İSTANBUL.
1988 German Cultural Center Original Print Painting Exhibition. İZMİR.
1988 Adem GENÇ, Kadir ATA, Ünal KUŞ, Gören BULUT, Mixed Painting Exhibition. Temiz Ocak Art Gallery.IZMIR
1988 Izmir Artists Mixed Painting Exhibition. Cetin Emec Art Gallery.IZMIR
1989 Meerschaum Festival Painting Exhibition ESKİŞEHIR.
2000 MKU Instructors Painting Exhibition.75th Year Art Gallery.ADANA.2000 MKU Instructors Painting Exhibition. Teoman Unisan Art Gallery.MERSIN.
2000 61st State Painting Exhibition.ANKARA.
2000 Naval Forces Painting Exhibition.ISTANBUL.
2001 Naval Forces Painting Exhibition.ISTANBUL.
2001 T.R.T Painting Exhibition ANKARA.ISTANBUL.
2002 Şefik Bursalı Painting Exhibition.State Fine Arts Gallery.ANKARA.
2003 Adana Municipality 75th Year Art Gallery Collection Exhibition. ADANA.

2003 International Psychology Association Symposium Exhibition. ANKARA.

2003 63rd State Painting Exhibition. ANKARA.

2004 Naval Forces Command Painting Exhibition. ISTANBUL.

2004 Umut Foundation Painting Exhibition. ANKARA. ISTANBUL. IZMIR. URFA.

2004 DYO Painting Competition Exhibition. IZMIR ANKARA, ISTANBUL. ADANA. DIYARBAKIR.

2004 44th State Painting Sculpture Exhibition. IZMIR ANKARA. ISTANBUL.
2004 2nd Art Educators Painting Exhibition Gazi University.ANKARA
2004 International Turkic Republics Mixed Painting Exhibition ANKARA
2005 Turkish Arab Union Painting Exhibition HATAY
2005 65th State Painting Sculpture Exhibition ANKARA
2005 İnönü University 1st National Painting Competition Exhibition MALATYA
2005 T.B.M.M 85th Year Oil Painting Competition ANKARA
2006 66th State Painting Exhibition ANKARA
2007 Çukurova Exhibitions 2 75 Years Art Gallery ADAN 2006 International Melitadan Battal Gaziye Art Meeting Symposium.MALATYA.
2007 2nd Buca Biennial (Lyrical Balance) İZMİR.
2007 1st International Adana Biennial ADANA.
2007 Antakya Governorate Individual Disarmament Mixed Painting Exhibition ANTAKYA.

2008 Naval Forces Command Painting Exhibition Naval Museum ISTANBUL

2009 Anadolu University 50 years painting exhibition ESKİŞEHİR

2009 Bakraç Art Gallery 30th Foundation Anniversary Exhibition ISTANBUL

2009 North Ossetia International Vledikafkas Painting Biennial RUSSIA
2010 International Viledikafkas esim Biennial Selected Works Exhibition MOSCOW RUSSIA
2010 Şefik Bursalı Painting Competition Exhibition ANKARA
2011 5th International Straw Sculpture Symposium Osijek CROATIAN
2011 Büyükçekmece Municipality Painting Exhibition ISTANBUL
2014 Niğde ContemporaryArtMeeting. NİĞDE2014 Kars Contemporary Art Meeting KARS.
2014 Büyük Efes Art Days İZMİR. 2016 İş Bankası Art Producers Art Teachers Mixed Painting Exhibition Kibele Art Gallery İSTANBUL

2016 Orange Blossom Art Colony Workshop Exhibition ANKARA.
2016 Summer Mixed Painting Exhibition Desen Art Gallery ANKARA
2016 Mixed Painting Exhibition with academic jury UPS Art Gallery Maçka ISTANBUL
2017 International Kahraman Maraş Türkoğlu Municipality Painting Workshop Exhibition KAHRAMAN MARAŞ
2017 Middle East Technical University Art Festival Exhibition ANKARA
2017 Nomadic Canvases mixed Painting Exhibition SARIYER-ISTANBUL
2018 Aydın Municipality International Art Workshop Exhibition AYDIN
2018 Şefik Bursalı Painting Exhibition ANKARA
2018 State Painting Sculpture Exhibition ERZURUM
2019 First Hatay Metropolitan Municipality Painting Workshop and Exhibition HATAY
2019 Mardin Meeting MARDİN
2019 Mersin Chamber of Industry Painting Exhibition MERSİN
2019 South Wind Mixed Painting Exhibition SAMANDAĞ-HATAY
2019 Artantakya art fair HATAY
2020 Women through the eyes of men Çankaya municipality İZMİR
2020 Meeting mixed painting exhibition primemall art gallery HATAY
2021 Gallery ABAY Art Ankara ANKARA
2021 Avanos Güray Museum Sculpture Exhibition NEVŞEHİR
2021 Gündoğdu Art Gallery Toros Mixed Painting Exhibition ADANA 2021 Korart Gallery New Year Exhibition ADANA

2021 Turgut Pura Foundation Meeting-1 Exhibition İZMİR
2021 100th Anniversary of Independence Painting Workshop GAZİANTEP
2022 Korart Art Gallery Art Ankara Fair ANKARA
2022 International Çukurova Contemporary Arts Foundation Painting Workshop TARSUS
2022 International Plastic Arts Association AKADEMİX-VI Exhibition İSTANBUL
2022 KUAKMER Art Gallery Contact Exhibition KUŞADASI-AYDIN
2022 Gündoğdu Art Gallery ADANUS Painting-Sculpture Exhibition ADANA
2022 Buca Municipality Culture and Art Center International Painting Exhibition İZMİR
2022 Milas Municipality Painting Workshop MİLAS
2022 Güney Insiyatif Mixed Painting Exhibition HATAY
2022 Korart Art Gallery Personal Painting Exhibition ADANA
2023 Korart Art Gallery Art Ankara 9th Contemporary Art Fair ANKARA
2023 Altınyunus Painting Workshop İZMİR
2023 Arnica-2 Mersin Painting Workshop MERSİN
2023 IAAF Art and Antique Fair İSTANBUL
2023 Ziba Artgallery Teaser Of Future Mixed Painting Exhibition İSTANBUL
2024 Antalya 1st Contemporary Art Fair ANTALYA
2024 Gündoğdu Art Gallery Art Sentez Mixed Painting-Sculpture Exhibition ADANA
2024 10th International Contemporary Art Fair ANKARA
2024 Mehmet Nuri GÖÇEN Foundation International 9th Painting Workshop KUŞADASI
2024 İzmir Art and Antique Fair İZMİR
2024 Artnova Art Fair ANKARA
2024 Mersin Contemporary Art Fair MERSİN
2024 Korart Gallery Janus-2 Art exhibition ADANA

An Essay on Ünal Kuş’s Paintings;
The possibilities of expression developed by Ünal KUŞ with reference to “spatial intelligence” carry the position of the viewer to the center of the work in terms of spatial perception. In this metaphysical universe purified from matter, images constantly circulating in a circle within the boundaries of the square initiate a possible reading process. After this point, the free movement of the figures also occurs in line with the expectations of the viewer. Since the realities of coexistence are independent of the spatial perception plane, all elements communicate without considering an organic bond.
The proposition developed by the artist, especially in the context of figure deformation, seems to aim to re-question the drawing doctrine of his academic structure. Bodies that slowly float, disappear, fade or deteriorate in spaces that perhaps never existed, reveal their own reasons for existence beyond the aesthetic understanding. Those bodies are not only the manifestation of a show of skill, but also indicators of a sincere creative process.
The postures of the figures; Since Albrecht Dürer's Melencolia, it examines the meaning attributed by the painter repetitively, extends, bends and takes shape in a structure that suggests the same intuitiveness each time. With its anatomical variations, each figure twists and turns to integrate the environmental elements and simultaneously each element feels the need to touch the other. Although no attempt is noticeable regarding the capture of the passing time, the assumption that the artist is subconsciously moving towards fixing the spirit of the time constantly preoccupies the mind of the viewer as part of the observation. The gazes that are directed directly from inside the work towards the viewer manage to eliminate the harassing gazes of the viewer at the very beginning of the encounter. Contrary to the inviting gazes that have been looking at the viewer throughout the history of art, Ünal KUŞ's figures suddenly disappear into the void as if expecting a glimmer of hope from the person across from them. The bodies, surrounded by the gravity of the situation they are in, are waiting for the viewer who can guide them on the way out. The simulation universe that stands in the reflection of the artist's existence invites us to discover the whole and the sensation blended within this whole, as well as the gazes or metaphors.

The unique sadness of those about to board Kharon's boat comes to life before our eyes. They seem ready to pay the price of the experiences they left behind as they set out on their final journey. All bodies have already accepted the surrender of the beings they bring with them. However, hopes are not yet gone, because every ending is also the harbinger of a new beginning. Whether in the light of a small lamp or in the historical sanctity of a fish or a cat, each indicator directs its own existence to the light of the way out. When communicating with the painting in the light of these indicators, the concept of space/emptiness gains greater importance.

The primary task of the supernatural perception of space in Kuş's paintings is to herald the beginning of a new (aeon) era. This is definitely not the harbinger of the end of the world, but of better days. Perhaps the surface of the painting, which turns into a twilight atmosphere, reminds tired minds of the existence of other eternities. In the hours when the sun sets and hopes are left for the next day, hopes are illuminated again by the light of a lamp, as if tearing through the darkness of the night. This lamplight comes to life in the memory of all the figures who led humanity in its struggle against the darkness it is trapped in.

There are many things that can be gained and lost suddenly in human life. As if these paintings want to remind us of the value of what we have lost and the transience of what we have gained. Who knows how many times in their short lives, the hopes of each individual have been stolen by others. Like Antonio Ricci in Cesare Zavettini's film "Bicycle Thieves", the viewer on the path of searching for their stolen hopes makes sense of what they have lost with the power of identification with the work in front of them. Hope, as the only cure for melancholy, always turns the wheels of a bicycle with the childish enthusiasm.
With its extraordinary density, serenity, sadness and longing embrace the viewer on the surface of a yellow web. The sheer amount of yellow, on the one hand, gives a sense of comfort, on the other hand, it reminds us of the value of time by emphasizing that this period will be left behind.

A nostalgic distance that describes how far we stand from the work and even how far the work is moving away from us; in fact, it heralds that the whole pattern will embrace the viewer who has experienced this feeling at least once with great longing.

Abandonment; perhaps as painful as Neruda leaving Mario in The Postman (II postino), but it also has a vital importance in terms of suggesting standing on one's own feet.

Assoc. Prof. Dr. Zafer Güngen