23 November - 16 December 2018
RHYTHM AND COLOUR
The linear volumes that get out of the canvas while the painter's hand draws thick serpentine circular ribbons on the surface of the canvas show themselves in Salar Ahmadian's set up. These forms create a space of their own, adding a renewed strong expression to the historical line of calligraphy. Calligraphic elements on the canvas meet us as metamorphosed archetypes of the artist, speaking a different language now. The serpentine thick lines, the interlocking plans, the parallels which pass over each other and the thick volumes constitute the cycles of an aesthetic style. Sometimes, it is possible to see elements, which in another composition cut, surpass or go beyond these parallels, rebelling against the draft of the painter by running over the borders of the canvas. The voluminous aesthetic line elements created by the artist tend to run away from the brush so as to get rid of the boundaries of the canvas. Sometimes, the desire to control the elements of canvas advancing through the serpentine curves drives the artists to capture all lines in a single round. Seaweed green spiral lines meet up with red thick ribbons and then pushing the boundaries of the surface downwards. Voluminous plump lines are separated from each other as if they were the arms of a legendary river and disappear in the corner, forming a turning point. The arms of the blue and green seaweeds, swinging over the stagnant water, move slightly together with the water, convey their colours to the canvas with the wind’s harshness, passing through the yellow belt with their directional characteristics, and slowly disappear. While the canvas starts the dance of the coloured buds, the pure forms of the universe, circles and spirals gather at the midpoint of the canvas. The artist expresses the geometric forms in hidden narration and makes a contemporary interpretation of traditional calligraphic elements, thus forming the last link of the tradition. While sometimes a canvas of colourful dots meets us, sometimes it is the cycle of complementary colours that completes the composition.
The scale of spatial forms, which is cyclic in the aesthetics of Salar Ahmadian, reveals itself in a very different way by changing the characteristics of classical calligraphy. Dot and line form the bases of the artist's sense of aesthetics. In fact, the dot is motionless and non-dimensional, but in the description of Salar all points are intensely communicating with each other. The dot is a tiny circle and is non-dimensional and the original form of the universe is built on the circle. The artist creates a new space on the surface by transforming the dot into plump lines
When the artist's commitment to calligraphy and passion to redraw unites to produce gigantic form of traditional elements and relationships between forms, it is no longer possible to mention historical realism nor dialectics, analogy nor an example. However, the real action here is to uplift, magnification or the performance of creating a new form from the original. The calligraphic expression of the substance is the nature, which exceeds the boundaries of the canvas and the desire to meet the eternity as the reminder of the nature. It doesn’t take long to discover the mathematics of the thick roll-shaped moving lines that are entangled on the canvas. Small circles, thick and think girdles, ribbon-ish lines come from the depths of the history of calligraphy to exist in bright rooms of the future.
Vertical and horizontal subatomic parts travel on the canvas, leaving colourful lights behind them. While the spiritual up and downs of the artist transform into fluctuating elements in the canvas, the linear forms, the generations, the serpentine folds, which rise up and down, are transformed into an extraordinary composition by the use of geometry. Because the aesthetic elements on the surface have come to contact with each other. A lot of small, circular dots and the accelerated lines on top of the canvas, forming the background, present the elements of the new space to us like the image of the time. The aesthetic compositions of Salar Ahmadian, combining tradition with the contemporary language is a precursor of a new dimension in painting. It is a great opportunity that existence of the artist is very powerful that it goes until the creation of the universe and the artist invites us to a festival with his brush fed by the tradition.
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