Tansu Akmansoy
Looking at the various works of Tansu Akmansoy, it is interesting to see how continuously his artistic concerns seem to correspond with a particular traditional way of thinking and aesthetics. In particular his occupation with shadows and lines play a special role in his works and we can find a correspondance with Japanese forms of artistic practice that instead of focusing on objects is more interested in questions of movement and dynamics. This shift away from objects and into a form of process, which has been addressed by Jun’ichuro Tanizaki in his famous 'In Praise of Shadows', allows the hidden key players of drawing – light and shadow – to unfold a new dynamic and become visible. These two very profound aspects can be found in the folds, and black and white contrasts of Akmansoy’s huge paintings, where the view repeatedly shifts in interesting ways away from the concrete, specific elements and lines into the diffuse. By playing with such dynamics, Akmansoy's hand enables small cosmoses to develop.
Another aspect that becomes quite important in his works is the question of space. Again, we can compare Akmansoy's works to Japanese calligraphic techniques where spatial issues are very prominent especially between the lines on the paper, which are folded into one another and produce thereby an overlapping and shading that has physical depth. When appropriately lit, surface and shadow enter into an unusual area of tension that extends beyond the familiar two-dimensionality of drawings. That Akmansoy is interested in precisely this phenomenon and knows how to exploit the tension between surface and depth becomes clear when one is observing these works only for a short time. We are primarily struck by the intensity of the play of light; then the line itself leaps into focus and burns on the retina; after looking at his works for a longer period, however, one finds that this perception changes constantly. Increasingly, the shadow cosmos of the work, which had at first been spectacularly overwhelmed by the size of the works, begins to emerge. Only after investing a certain amount of time, does this side of the work become evident, creating an extremely interesting alternation of spatial levels.
In addition to this aspect of space we can find as well another dimension. It is contained within the drips of paint that run down the paper and in the dynamics of the brushstrokes that exhibit the production of the work. By not hiding these 'flaws', Akmansoy allows the observer to understand that drawing and painting is not a process between the hand and a sheet of paper, but a process in space that always involves the whole body.
Marc Gloede
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