ABOUT AYSEL MIMAN’S RECENT PAINTINGS

Distant / Near Images

A successful painting can not be based on casual and arbitrary reasons. In this context, “design” and “decision making” has a significant role in reaching to the desired rank. Painting activity, is not entirely a pleasure getting activity as it’s usually surmised, but also is a problematical activity, based on the questions.

Painting -plastic arts- is no longer a conveyor of the message, a pleasant depiction of the nature in one way or another or a “means-object” that shelters the latent meaning to be revealed, but an aesthetic object having both the message and the meaning on its own, bringing its own expression means (color, texture, line…) in the foreground. When the recent works of Miman are considered, they’re drastically in a harmony with the opinions clarified above. On the other hand, when Miman’s paintings are considered structurally; it can be said that they’re in a form arranging a certain tension by opposite proportions of various color blocks, overlaping them, sometimes by semitransparent color transitions, and near-far relations of the large color blocks.

Another characteristic can be seen in Miman’s paintings is that the constituted large color blocks attributing to some basic geometric forms. However, the plane is not only covered with lyric geometric color blocks but stabilized by biomorphic (or organic) forms. Because that blending the biomorphic and geometric forms in such an equilibrium is one of the characteristic features of our times’ aesthetic understanding, it can be easily said that Miman’s forming attitude is in a contemporaneous and abstract manner, with the characteristics clarified above. In conclusion, the works of Miman, reflects the belief that “Each form and color, without feeling need to assign an external meaning, are self sufficient beings.”

art critic ,ahmet mert

Colour, Line, and Texture as an aesthetics exploration: Aysel Miman Paintings

Would you hang up that painting on your wall? In an article , which I have reviewed on the website of Virtual Museum few years ago, I have read that this question is one of the important meters that makes simpler to decide about the artistic merit of a work. Previously, in this question it sounds to me that only the image and its impression are heeded by ignoring all plastic effort of the work; but there has been a fact that leads me to the first years where I met with lines and colours and that seems fairly more understandable as being on intimate terms with pictures. In deed, our reply, regarding whether we want to hang or not a picture that we have seen for the first time, is a remarkable detail in determining the importance of our own artistic understanding even without regarding the plastic effort of that picture as too little to undervalue. Aysel Miman, painter of canvases, on which colours, forms and textures softly impress the memories of the viewers. Her picture is the kind that I want to see hanged on my walls. Her works, on which rectangular formed window images blink to us by colour transitions, sometimes thick sometimes glare, show clues of a painter who reflects her ability on different art views from theater to photographs. The painters, who try to show their experience on the other art fields alongside the picture, have always drawn my attention. It seems to me that every artistic output, produced in another fields without moving from the objective artistic field, feeds the artist. Miman, who opens the door of a world in pastel tone with colour masses, turning into geometrical forms, accepts the geometrical forms sine qua non of her works of art. The geometrical form, the reminiscent of window image, is compliance with line and texture. An artist, who thinks form, texture and colour alone only an aesthetic value, is in a sense making “art for art” between forms, colours and textures without embroidering a particular issue to her work of art. The colour and texture exploration is extremely more in her works, in which small and big window views are the basis. Locality depth is made rich with texture works, used on the surface. Works, in which multiplex paint layers are added successively or which the colour is worked on canvas only with thin texture brush strikes, generally as lively, cheering, clear visuality are conspicuous, a understructure, where the painter interrogates acts such as hiding, being observed, observing, being outside or inside, are constructed as the main character of the pictures. Lively tone inside the pastel colours is another value that reflects positive fact, felt generally in her work of arts and new excitement while discovering the brand new colour values of Aysel Miman, who adopts positive points of the arts of Albert Bitran, Matisse and Mark Rothko. Apart from the paint, in her work of arts in which pastel, black and pencil are preferred, window / rectangular forms, which are only put forward as a form even though not as an issue,- anyway- make the viewer anxiety about the secret and the good meaning, an artist wants to give through window / rectangular.
The window image as in Pierre Bonnard's work of art, "The Breakfast Room", has been used so much heretofore in history of art. Nature explanation effort of Cezanne by geometrical images might be the beginning of focusing on our perception of window image as “a rectangular form, an object”. At the same time, it is my belief that this sense, one of the basis of abstract picture, takes Aysel Miman to a hidden symbolist world, which she has tries to explain with forms. The abstract pleasure in Miman’s works reflects the rectangular forms, seen in Hans Hofmann at the end of fifties, especially his picture, “The Ocean”.
Aysel Miman, one of the member of Turkish young generation painters, will present her last period works of arts to the taste of viewers under title, “Nearby and Distant Images” at Gallery Artist in Çukurcuma on between June 14th and July 4th, 2007.

art critic , Ayça Güzel , artist magazine page 74,76