When I started working on “water” in 2008, my concern was to paint the human spirit. All human emotions found their place in the metaphor of water for me. For years, I searched for the colors and texture of water in the human figure. I immersed man in the depths of water, I built a world for him; changed the body of water. Sometimes I focused on the human face, I looked for the traces of light and water on his face, sometimes I just painted water. Now this adventure takes me to new textures. Water is not enough for me. My focus is again the man himself, his soul inside and out; however, visual images began to require more complex metaphors, more layered meanings. Man himself has a complex, ambivalent nature. Therefore, instead of explaining this contradictory structure of our reality with a single layered visuality, I wanted to try superimposed visual patterns. The forms in my paintings have illusions that force two dimensions with the texture and color possibilities of picture plastic. These paintings contain images of different lives performing different actions in superimposed layers. Each visual element of human's inner world and moods, together with animal figures reminiscent of human existence in some layers, form new dimensions of existence in transparent layers. I aim to give new meanings to events and situations together in a synchronicity. It is important for me to reproduce the sub-meanings of the subject of the painting and at the same time to reinforce the color and texture richness of the painting with these overlapping images. To achieve this richness of images, I need a wide variety of visual data. For this, I do my preliminary work on photographs. I capture transparent images by combining photographs with digital techniques. Some even turn into solid work on their own, with a very strong richness of color and texture. However, the most important thing for me is the plastic of the paint. Although I did the preliminary work of the painting on the computer, what I do when I come across the canvas is not much different from transferring a composition that already exists in front of me in its most traditional form to the canvas. I do my installation by looking at the digital image that I prepared before, as if I was working on a still life. I paint textures, colors and forms. The process turns into a familiar painter and model process. Couldn't I display these photos? Why so much effort with paint? This question seems to raise a series of questions: If there was a still life I set out on, would I want to exhibit the still life itself? At what point does photography become a vehicle? At what point is it a work of art? The answer to this is hidden in the artist's purpose. The adventure that the artist wants to share with the audience affects the result. I guess what I want is to show that there is a several-layered preparation process behind these paintings: All my preliminary work with photographs in digital media, my settlements on the canvas, my efforts to transfer the same digital image that I already have, in all its transparency and light, onto the painting surface and paint colors. Afterwards, my effort to transform it into the richness of composition and texture required by a painting. The transformation of the light that forms the photograph into paint colors, the thinning of the paint with light…. Finally, the translation of the digital image into pictorial values…. I love the part of the plastic of paint that interferes with the meaning and I use it especially in my paintings. In the process of creating the painting, all the richness of texture, all the possibilities provided by the paint, are enriched with the possibilities of a digital image. Because these digital images provide new visual challenges that I can pursue. In my own adventure, I think that with digital possibilities, contemporary patterns can be captured with the plastic of the painting, that paint contributes to these patterns and diversifies the meaning. May 25, 2016