Kemal Seyhan

Kemal Seyhan (born in 1953, Kayseri) lives and works in Istanbul and Vienna. Kemal Seyhan’s paintings in the last two decades are narrated with a narrow language, comprising four words: horizontal | vertical | color | intensification. While he pieces the words of this narrow vocabulary together, the artist restricts himself with a series of rules: starting with black | applying vertical and horizontal on the canvas lengthways | avoiding simple topological relations on the surface of the work –such as large-small, including-included, inside-outside; in this context, |not using the color to define the space on the canvas | putting it mainly under intensification’s order |creating an excelled surface that disables any 3D illusion | leaving everything else (except for the surface) the back or sides of the canvas out of attention

The works are produced by applying this vocabulary and rules on canvas 40, 50 or 60 times.

50 kg of paint is used to color the canvas with thousands of spatula touches to create 40, 50, 60 strata.

In the paper productions, Seyhan started to work on in 2009, the canvas (along with the paint) disappears as a means of expression. Instead we find thousands of graphite marks covering the paper laterally, horizontally and –at times- transversely. On these works, turned into metallic surfaces due to intense use of graphite, intensification -the central concept of Seyhan’s vocabulary- is given a new tool: The both-sided breaks (while drawing on and painting it Seyhan also breaks the paper pushing it against a sharp corner) create a sense of relief on
the surface.

As a matter of fact, the rich topography of this relief imitates the effect the perfected color intensification created by the stratified paint applications. The semi-chaotic topography of the production builds a strong communication with light. Reflecting the colors of its environment, it presents a different chromatic scale depending on the viewpoint.

Gerard Caris (born 20 March 1925) is a Dutch sculptor and artist who has pursued a single motif throughout the course of his artistic career, the pentagon.

He was born in Maastricht, Holland. After attending the technical school in Maastricht he joined the marines as war volunteer trained in Camp Lejeune, N.C., United States, to end the occupation by Japan in World War II. During his training the war was ended by the atom bomb and he was sent to the late colony of the Netherlands Indonesia.

In 1947 he came back to the Netherlands, only to leave soon afterwards to the far East in an attempt to escape the poverty of his native surroundings. Ten years later he decided to emigrate to the U.S. Here he studied art and philosophy at the New York University. Combining his art classes with earning a living and visiting all art happenings, museums and galleries, for example the Tinguely happening at theMOMA in NY in 1960 he was overwhelmed by Abstract expressionism and left for the Arabian desert in Dhofar, a sultanate of Muscat and Oman where he worked in his former trade as a petroleum engineer.[1] 

He did one more important job project, the erection of the Telstar Horn Antenna at the Andover earth station in Maine, then he traveled to California, inspired by the movie he watched while working in the Arabian desert Strangers When We Meet. He studied at the Monterey Peninsula College, California, the Monterey Institute of Foreign Studies and San José College (arts and humanities) subsequently at the University of California, Berkeley, a.o. with David Hockney, R.B. Kitaj, Elmer Bischoff and Richard Diebenkorn In 1967 B. A. in Philosophy, in 1969 M.A. in arts . He returned for a “short visit” to Holland where he continued his art practice without realizing there is no intellectual resonance where he works but he is so possessed with his newly discovered Pentagonism that he does not realize he has landed on the moon. To this day he works continually, evolving new ideas, executes them, and making them public through exhibitions and publications, remaining optimistic, believing that ha has added a new chapter to the history of art self coined as Pentagonism.