About Yaprak Berkkan
1945 Born in Ankara / Turkey
1965 Graduated from State Collage of Arts ( Mimar Sinan Collage of Arts ) with first degree.
She was the student of Bedri Rahmi Eyüboğlu.
1966 Worked as Art History Teacher.
1967-68 Graphic Designer in Deva Pharmocology Industries
1968 - 1986 Technical Designer in Turkish Highway Instution.
1969 - 1974 Personal Exhibitions in Taksim Gallery of Art.
1975 - 1990 Personal Exhibitions in Cumalı Gallery Of Art.
1993 - 1996 Her paintings has published in Unicef Calendars
New Exhibition from Yaprak Berkkan
24 May - 20 June 2006
Artı Mezat Art Gallery
Inscrit le: 18 Oct 2006 Messages: 4 Localisation: Turquie
Posté le: 11 Sep 2007 22:48 Sujet du message:
Sayın Salih Bozok, "dans le train" topiğindeki mesajları-çalışmalarımı- buraya aktarabilirseniz memnun olacağım. (Tabii ki adminlerden itiraz gelmezse.)
Yapmaya çalıştığım şey, bu topikte daha önce yer alan mesajımın altına çalışmalarımdan örnek koymaktı. Ancak, resmi eklemeye çalışırken, yeni bir topik açtığımı gördüm ve onu silip buraya taşımayı beceremedim:(
Fransızca bilmiyorum. Çevirileri, fransızca eğitim alan kızımın yardımıyla alıyorum. Bu forumda fransızca bilmeyen bir Türk sanatçısına yer var mı bunu da öğrenmek isterim doğrusu.
Sayın Salih Bozok, "dans le train" topiğindeki mesajları-çalışmalarımı- buraya aktarabilirseniz memnun olacağım. (Tabii ki adminlerden itiraz gelmezse.)
Yapmaya çalıştığım şey, bu topikte daha önce yer alan mesajımın altına çalışmalarımdan örnek koymaktı. Ancak, resmi eklemeye çalışırken, yeni bir topik açtığımı gördüm ve onu silip buraya taşımayı beceremedim:(
Fransızca bilmiyorum. Çevirileri, fransızca eğitim alan kızımın yardımıyla alıyorum. Bu forumda fransızca bilmeyen bir Türk sanatçısına yer var mı bunu da öğrenmek isterim doğrusu.
Trustfully, I must admit that I faced the problems that hinder the way of contemporary Turkish painters as well as my other colleagues.
However, what made my way different was my intensive stripping of the forms, minimizing the concept of the tissue and reducing the colours’ symbolic value on the palette . In other words, restricting the plastic volume became my meyhod, instead of excess usage of the plastic elements.
In spite of the descriptions above, I prefer to bring forward the imaginary dimension.
Whereas I try to keep the figure – space relation together in the simplest form; I still search for a sensitive tension.
Some specific human figures which entered in my paintings seem to be real human. Besides that, via painting these nude figures, human is explained in the dimension of social city mankind. Although we have no idea about them, they are always with us, and they are “the human”; human beings whose sensitive tensions echo from the doors, walls and windows.
Sometimes an individual figure shows the loneliness, whereas sometimes a group of two or three component relations link with the usage of purple and yellow images and sometimes the mean of loneliness is recalled with a fully screen of skyblue. The inter-relation of the human figures who find their value in contours, keep the painting stand still with a balance forced by a real gap of communication.
F. Gülgün Engin
Bibliography on Plastic Arts Education
(Summary)
Though it seems that the critic is a simple way of giving the opinion, there is an enormous misunderstanding on the definition of criticism. The fact of criticism on art, as well as other criticism fields needs a certain grade of educational accumulation on the related field of criticism. Unfortunately, the lack of sufficient sources on the art education in our country makes it difficult to achieve concrete results.
In order to close this gap in the art education, I decided to compile a collection of over 500 studies on art education and by this way to contribute the researches on this issue. I had difficulties in classifying the publications which are directly related with the branch of art and the ones which are about “art education”. By using an initiative, I sorted the subject according to the name of the publication and the author’s works.
Afterwards, I recompiled all those books, articles, proceedings of symposiums and congresses and post-graduate thesis published between the proclamation of the republic and the present date, which I could find and evaluated them with a specific method.
I arranged tables and graphics on “issues and problems according to yearly intervals” and “distribution of the subjects according to the authors” in chronological order. By the examination of this order, it will be seen that the studies on art education are in parallel relation with social evolutions.
In the case of studies on the authors and their artistic identity, I reached to a fact that most of the popular artists who are known as painters were authors. In this arrangement, I wanted to point out the specifications of the period in which the studies were made and essays were written. Additionally, I placed biographies of the authors who had written the majority of the works.
While recompiling different types of sources on art education, it will be seen that the most common type is the articles .Besides this, the art magazines that accustomize in the very hard conditions have filled the considerable gap of sources in this field. Unfortunately, in the forty samples that I managed to reach, most of the sources are no longer in publication and moreover, magazines those are still in publication have rarely given place to authors’ comments on art education.
Books are less in amount, most probably because of the difficulties in writing and publishing.
Post-graduate thesis are more intensive by the end of 1980’s.
General index is the main list of our bibliographical study. You can simply find out the author or the title you are looking for, just by looking up on the index at the end of the book.
Chronology is also placed in the book to show the role of art education in our country.
After investigating the publication of art education in our country, I saw the fact that art educative publications are not few as it is known; on the other hand, it must be admitted that these sources are not enough. In the recompilation of my researches which was published under the title of “Türkiye’de Plastik Sanatlar EÄŸitimi Bibliyografyasi” (Bibliography on Plastic Arts Education in Turkey), I tried to arrange remarkable sources related with the subject and add some novelties for helpful influences in the improvement of art.
A huge mean mound with the usage of concentrative heap of word is shown in F. Gülgün Engin’s paintings. The artist tries
to realize a “sound in colours via figure-language without using
the volume, tissue, light, and shadow elements. Since seven years she is working in this framework and at last she created her own way and named it “Stoptime”.
Ä°lhan AYYILDIZ
In these days, we have faced an extraordinary presentation of art exhibition of Ms. F.Gülgün Engin which was actually much more than the common ones of the recent years. After the presentation of this summer in Antalya Museum; she continued her works on her own style to show them in The Art Gallery of the Naval Museum. We also heard about her works to publish a book about Bibliography on Plastic Arts Education in Turkey, a result of her studies of the last two years.. We asked her about her paintings and researches.
Arkitekt- Dear Ms. Gülgün Engin, before asking about your paintings, would you mind informing us about the beginning years of your artistic life?
Engin- I started to work in an atelier about 15 years ago and decided to have the education of this field in the university. Thereby I passed the university exams for the second time and attended Marmara University A.E.F. Art School which I graduated in 1998 with the first grade. Afterwards I finished my post-graduate degree in the same department.
Arkitekt- I wonder if you said “for the second time” ?
Engin- Yes. Before that I finished the Economics and Administrative Management branches. I have also worked at a holding. Paintings came stronger later.
Arkitekt- There is remarkable difference between economy and art, what was the influence of it on you?
Engin- You are right; however, despite all the differences, both are high education branches and they enlarge your vision to look at the world. In those times, when I was travelling I used to watch apple orchards, and think about prices, marketing, contribution to national income, etc. Afterwards, I began seeing colours, patches and compositions of the same orchard. This realistic approach brings a change to you with psychological, sensational and sociological comments and by the intervention of art, you put on your glasses of art vision to your heart.
Arkitekt- The secret of artist’s different world may be in these glasses?
Engin- It is just my own opinion. You can see something which are normally invisible with pure eye by these glasses. By the time, you use to see the objects from different aspects. Just like watching this cup from the bottom right corner with an angle of 23.5 degrees. You prefer to look at the same object and same event from a different angle at the same time with other people, but discover something different. This becomes your way of looking.
Arkitekt- So, what about your paintings?
Engin- I just reflect the sign of what I saw and observed or its influence on my soul. Just like making shadows, colourful shadows. Moments of Memories! I have worked on figures for a long time. I found them more familiar to me. Maybe just because the “human” has a special value in my eyes. I draw figures but not with details, volume, and faces. I draw them with stripped colours only. It orientates me to see to the world just by the colours.
Arkitekt- Not only in your figures but also in the whole of your paintings it could be seen .It is why no one could identify your style with known styles.
Engin- Yes, this is what I do .I try to minimize the plastic elements. Just like saying many things with a little mound of words .With the use of neither volume, tissue nor light and shadow I try to make a sound of colours by figure-language.
No one attempted to name my works. I am working in this style for seven years. Until today I have not come across with a hardworking just like what I had done. All in all, I am open to any idea if the style of “Stoptime” which I named, was used under another name before. Although the similarities between the graphical or painting traces, it is not graphic or pure painting.
Arkitekt- Shall we say that it make your paintings orientate on flat canvas?
Engin- No. I do not think so. I never think to cease from figures. It is too difficult to give up the figures in which you can show the different sense of humanity. In other words, I will continue to discover the sound of the body of human figures by using the colours.
Arkitekt- Let me ask about your researches and studies, and of course about your “Plastic Arts Bibliography”, how did you find this subject?
Engin- Since the first years of my art education, I was interested to know about the sources in this field. This is why I decided to study this matter whereas; when I start to investigate from the sources I found out that reaching to the separate sources are too difficult. It is why I decide to inquire and study the case in my master thesis. Since; I start to conclude all I found from the beginning of republic (90 years ago) till today in a cytological book.
Arkitekt- What are the results of your studies till now?
Engin- As a start, the results were satisfactory for us. From the reachable folders, we managed to find out more than five hundred sources in different types of publications like books, articles, magazines, master thesis, university publications, etc. Due to the lack of bibliographical sources in our country, I think it will be accepted as a valuable publication. I must admit that this is just a start, but it is a very good to start.
Arkitekt-What coerced you the most during your studies*
Engin- The hardest part of my investigation was to define which ones of the sources are about my research article “educative arts”. Because my research title was the educative art and it was hard to define which article is just about the subject I was looking for. To pass this barrier in my way, I first stored the remarkable sources and afterwards I started to identify them and heaped them up in different groups as paintings or just bibliography.
Arkitekt- How could you manage to cope with this difficulty, you must have a criterion in this case.
Engin- It was obligatory. By the time, I used to find out the authors and their works in this field. Although it was hard to identify the contents of the books with their title, I manage to pass this barrier using my initiative to compile the sources .It is just a beginning, therefore it may have a few missing or some mistakes which are not considerable for the first bibliographic study in this field.
Arkitekt-Would you mind evaluating “Plastic Arts Education Bibliography”.
Engin- I prefer to use graphics for each publication. This help us to understand the facts also visually. To make a summary for each part, I have written my personal opinion about it . Additionally I attached a chronological list of the art history from the republic till today (a 90-year-period). Thus; the historical development of art education is visually shown by this syntax.
Arkitekt- I think your investigations valued by the related offices and will be helpful for our country’s art society.
Engin- Thank you. I hope I have sent the correct message to the related positions..
Arkitekt- Your investigating area was on a differently covered subject, your painting are also in the same difference, it seems that these are caused by the glasses which we are talked about, isn’t it?
Engin- I like this difference. It makes me wealthy, it increases the volume of my colours. Each time I found the happiness of being a “human”, especially while painting a picture. Each of the windows, walls, and frames in my paintings has their own world. You can find something about yourself in them which are hidden in these pictures. Although it seems that I paint my own world, we are all in these pictures.
Frame Series Of Gülgün Engin
(Nokta Magazine 2001-Issue 24 – News)
Painter F. Gülgün Engin, will present her third solo exhibition on the16th of June in the Antalya Museum .Engin’s exhibition in which 20 works with 7 lithographs are presented , is named as “Series of Frames” . This exhibitation will continue until 30th. of June.
As the artist’s speech, “I chose this name because we limit ourselves with the frames that we create”.
“Some specific human figures which are included in my paintings seem to be just like real human. Besides that, by painting these nude figures, human is defined in the dimension of social city mankind” Engin described and continued : “people’s tensions are reflected by these walls” .
Gülgün Engin, after graduating from I.U. Faculty of Economy and Administrative Management with the title of M.S. in Administrative Management she started working in a holding as manager. In 1989 at the atelier of Bahattin Odabasi, she started to work on painting art. By the time, she attended Marmara University A.E.F. which she finished on the first grade in 1998. She also had M.S. grade from the same faculty.
Gülgün Engin who has joined 16 mixed exhibitions besides her solo exhibitions describes her works by these words: “Trustfully I must admit that I faced problems that make hinder the way of contemporary Turkish painters as well as my other colleagues. However what made my way different was my intensive stripping of the forms, minimizing the concept of tissue and reducing the colours’ symbolic value on the palette” and continues:
“In spite of what was described above, I prefer to bring forward the imaginary dimension.
Whereas I tried to keep the figure space relation together in the simplest form; still I am looking for a sensitive tension. ”
F.Gülgün Engin likes to take photos also and she tries to reflect the loneliness by using skyblue, green or purple images on the canvas.
Melodies of Painters
(Sanat Cevresi Magazine, July 1993- Commentary)
Muzaffer Budak
Artist F. Gülgün Engin’s exhibition not only contributed on modern painting art but also helpful to the improvement of general culture level. Landscapes are not encounterable in Engin’s works .Originally made still lives admit all efforts which had spent on them. She has a different aspect of glance to the society. Besides intensions on physiological problems, her figures also mention on society problems and the subject of humanism in her paintings contain dialectical facts also. Some of dialectical works turn into an art creation by the correct usage of colours. Gülgün’s brush conveys the philosophy of culture with the poetic paintings. Landscapes are commonly used in Zühal Sarıkaya’s last exhibition again. Annihilated nature’s animation can be seen in her senseful works. Sarıkaya, a humanist artist , puts colours with love dialects are symbolically described . In spite of imaginary dialectics, the dialectics in which the relation between human and nature is described . Vigorous colours in artistic contents are aesthetically conveyed. Sarıkaya and Engin’s poetic aesthetic works make a creative sense on the spectators .While spiritual judgements of artists’ works animate the brushes theme on the canvas as a melody of art, the logical strap of the works send the message to the art lovers. 1992 – 1993 season, will be remembered as the worthy season of art works . While the symphony of other painters’ exhibition plays, they will make new philosophies as well .
Biography
F. Gülgün Engines was born in Bursa in 1959 ;
Finished the Economical & Commercial Science Academy M.M.Y.O. in 1979 ;
Afterwards finished her higher education at Istanbul Uni. Faculty of Administrative Management and got her McS title from the same department.
Later she started to work on illumination & design .
By the time she started to work in Eczacıbaşı Holding as an enterprise manager .
She started to work on painting at Bahattin Odabaşı atelier
She worked on photography at Ä°FSAK .
She finished at the Marmara University Atatürk Educational Faculty, Find Art Department with the first grade .
She had the title of McS from the same department with the advanced grade of education.
She Published “Art Education Bibliography In Turkey” in 2001
During the years 2002 till 2003 she worked as the manager of Arkitekt Magazine
Paintings & design under the surveillance of Prof. Dr. Ramiz Aydın , Prof. Dr. Muammer Öner, Prof. Dr. Mehmet Özet, Prof. Dr. İsa Başlıoğlu.
Original print technics under the surveillance of Prof. Dr. Basri Erdem and Prof. Dr. Bünyamin Özgültekin graphics and darkroom photo studies at the atelier of Mert Günhan.
Art history & manner under the supervising of Prof. Dr. Dinçer Erimez and Prof. Dr. Selçuk Mülayim.
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