Ali İbrahim Öcal

“The Concept of a work of art may involve the matter of the piece or the process in which it is made. Once the idea of the piece established in the artist’s mind and the final form is decided, the process is carried out blindly. There are many side effects that the artist cannot imagine. This may be used as ideas for new works”. Sol Lewitt, Sentences on Conceptual Art, 1969.
When talking about my production practice in general, I can say that I deal with my various attempted experiments within a “simultaneous production model”. The most determining feature of the imaginative universe that I create by means of using different techniques and media such as painting, photography, sculpture, installation, video and nature-based objects is that it has a multidisciplinary pattern. I believe that this “feeling of omnipresence” generated by this form of expression/production creates a liberating space for my works.
My works include the whole of multilayered images, such as soil, seed, sprouting, growth, extinction, rebirth, criticizing the human-animal relationship as well as the semantic relationship between the image and the human being, and embracing universal geographic and cultural codes as much as possible. One of the most important characteristics that carries the concepts of my interest beyond an ordinary search line is that I persistently focus on certain images and interpret them with a “leitmotiv” approach. And what brings them together or make them come close or stick together is their poetic and dramatic effect along with their plastic diversity. Instead of filling impossible voids of meaning, here we can talk about the system of references which prefers to take part in one of the pieces of the world’s image. This system manifets itself on conceptual grounds that will detach existing pieces or images from their context and make them represented in different forms.
I try to patiently and candidly understand/show what is rare, what is fragile, what is valuable and useful or, of course, permanent and transient on a dried up crust of a tree, in a tree leaf turning almost into a poetic calendar on its own, in a unique rosebud, in housands of cosmic thorns, on the skin of a regular racehorse or in a sea landscape depicted with waste paints.