Aggressive intimacy, digressive emotionality.
The works proposed by Yusuf Sevincli and Gözde Türkkan and selected by Ali
Taptik, are a pure concentrate of emotional instability: just stop in front of them to sink into an excessive and mutable emotional experience, as a result of an unstable identity. We finally cross the photography borders ans get, through the extreme approach of the artists, almost to hit psychoanalysis.
The works of Gözde Türkkan are visibly marked by a sort of reverse voyeurism, a scopophilia of the self. The artist shows through her pictures the morbid delight at being observed, at the extroversion of the intimacy . This is not necessarily an act of honesty or made in order to open her privacy to the world, but rather a conscious display of her desire, of her own libido. Narcissism this time ceases to have the self as a center of interest to move to the other. The result is a distorted perception of this self that manages to be subdued only in part by the mediation of photography, that ends up becoming a sort of psychoanalysis. The intimacy quit the private
sphere to becomes a means of aggression, fighting, a martial art capable of hitting straight to the bowels.
If the instability of Gözde is purely emotional, Yusuf Sevincli's one is even
physical. Yusuf does not linger. He walks, he explores, he observes, he shoots and he leaves again. He collects almost obsessively scraps of reality which are always different, but they can finally find an analogy and eventually become a series of images. It 's a picaresque concept of photography, almost homeless, which rejects the stability and serenity of a home, albeit virtual, embracing instead the road and the people, animals (from dogs to insects), objects that live in it and make it alive. Subjects become patches that eventually assemble together to reveal a texture,
which is the representation of reality through the artist's eye. Emotionality digress the beaten tracks and take the street, returning us its true essence.
Santi Oliveri
