H. Avni Öztopçu

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Kurgusal Mekan, 1989 H62

   1985 "portre I"

       The quotation of  "I have been dealing with the problems of puttin the abstract world which has been established in minds into an objective shape with the power which a human being holds in materializing things"  has been an explanation of the direction of my activitics in Art or the specification of my desire in my field of interest. This work and this introduction will give the proportioned explanation of my pictures.

        The thing of contact which is formed beyond our conscious of my estimated conceptive world has not existed on the whole. This imaginative world which has been constructed under constructive activities and turned to reality within the subjective borders emerges in an abstract shape.

        What provides the idea of the artistic ground in this set-up abstract world? Does the outside extinction of the clarity on the whole restrain the ground idea? Answer to these questions are searched in this work.


        Something is enclosed as an object in every mental incident; the tendency to this object is supplied by the capability of the man to materialize things. On a ground, dependent on object, the visibiliy and the audibility of the objects contribute the idea of ground. The discrepancy among the transportables that this set-up ground carries is an alien appearance, or as I have often mentioned, a contrast appearance of the transportables. The visibility of the transportables on ground, the classification and the declination of this visibility is the expression of an artist.

        The search for an obvious space between the extreme points of the conrast, looking for decisiveness and fitness have approached me to a drawing structure. The method I have grown to see the style has taken over the duty of definiteness. Although every portion of my pictures is linked to the whole unity tightly, they trend to have a kind of independence. This independence is not a vagabondage. The individual portions are reliable on the whole, but not lost the touch of independence. So, it makes the viewer see the picture by joining one piece onto another, passing from one portion to the other one. This is a cooperative work of the combination of the independent pieces.

   1987 "çiçekli sütun"

        The clarity of my pictures clings to the visibility of the shapes. Yet, the vagueness is not contributed to the outlook of the individual, but to the meaning of the combination on the whole unit. There is no contact in the whole combination and it is not expected to be one. The clarity in the shapes is received by enlarging the contrast. The shapes enter nature in piece by piece lacking wholeness just as they do in conception. These elements isolated from nature are going to be conceptive abstract existence. The contact of the combinations in both positions lies in the thought.

       In my pictures, the contrast of colour, species and fullness becomes stronger when the contrast in respect-emerges. The cotrast in respect of horizantal and vertical contrasts. Even if there is an opposite of each direction, it is not made balanced in my pictures. It is often required to have one direction (respect) more obvious than the others. Horizantals and verticals do not exist only in respect, but they also have taken the leading parts.


       In placing arrangement, when the cotrast happen to cling to the sides, one gets the impression that the picture is made within the size of the frome, instead the picture being an outsider in its frame.

       Some of my outstanding picture among the others I have made at the end of my work fixing the respect and the field of my Artistic activities are explained by their own names is in a proportioned style.

   1994 "85'li merkez"

        We know that any process or a part of a construction or arrangement can not be fixed beforehand. Up to now, I have tried to write down my artistic approach in words (orally). This trial explanation and all the constructive and arrangement work can only be a messenger of new journeys.

   1991 "gezi MR-I"


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