H. Avni ÖZTOPÇU

 
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H. Avni Öztopçu, Büyük Oylum, 1985, 65 × 81 cm

 

The Path of Space
“Uzam Yolu”
Muammer Öner
Sanat Çevresi, No. 121, November 1988, Istanbul

 

In his early investigations, Avni Öztopçu placed particular emphasis on the concept of espas. Taking as his point of departure Kant's proposition that “space is the form of outer sense, and space and time are intuitions that precede every experience,” together with his observation that although everyone assumes they see space and time, what is actually seen is what they contain, he turned his attention to the problem of giving form to this conception. Having described his new understanding of espas as “Abstract Espas” or “Imagined Space,” we see him seeking to bring his paintings toward the unity of “Constructed Space,” through the interrelationship of Space–Light–Object. While giving priority to strong light–dark contrasts as a formal element, he expressed the reason for this tendency simply: “I want to make use of the tension between light and dark.”
 

In his early works (1985), he took black, which he described as “darkness,” and white, which he described as “light” and “brightness,” as his principal means. The mechanical forms he placed within dark areas acquired luminous, crystalline brilliance through gradations of white and grey. Together with the diagonal positioning of planes containing amorphous motifs, these elements produced a layered, contrasting structure whose geometric coherence he sought to reinforce through movement, repetition, and texture.
 

In his subsequent works (1986), the movement contrasts of the earlier paintings gave way to horizontal and vertical contrasts. The contrasting forms—amorphous and crystalline—were abandoned, and rhythmic elements forming the geometric planes of mechanical objects took their place, as seen in Two Windows.
 

Alongside the transformation of grey–white gradations into gradations of colour, a tendency toward Planimetric Espas emerges in Leaves, while the volumetric aspect of the attempt to create a “Travers Espas” is retained.
 

At this stage, the elements of rhythmic repetition continue to seek their place and function while maintaining their mechanical character.
 

It is not difficult to see that this change in Avni Öztopçu's work is closely related to the growing importance of colour and motif in his painting. Indeed, in his subsequent works (1987), these two elements come to form the basic structure of his paintings. The function that he had assigned to light–dark (black–white) contrast in his earlier works is now assumed by colour contrast, as in Tobacco Flower. His earlier preoccupation with black-and-white contrast, meanwhile, gradually gives way to grey, taking its place in the painting as complementary areas and transitions.
 

Mechanical ornamentation appears in the form of organic textural structures, as in Ivy and Flowered Column. As an inevitable consequence of this approach, his conception of espas settles into a Planimetric structure.
 

Three years ago, Avni Öztopçu emerged from Kant's “starry heavens”; now he finds himself in a “passage” of blues, greens, and flowers.
 

Muammer Öner, “Uzam Yolu,” H. Avni Öztopçu, Sanat Çevresi, no. 121, November 1988, Istanbul.