Immigrated to Istanbul with his family at the age of fifteen, Altun graduated from Marmara University, Department of Photography. He continued his career starting as an assistant, by shooting fashion, locality, architecture and still-life photographs. He published the photo books “Nefes/Breath” where behind the scene images of the motion picture titled “Nefes: Vatan Sağ olsun /Breath: Long Live Homeland” are compiled, and “Çatılardan Istanbul/Istanbul From Rooftops” referred to as his homage to Istanbul. In year 2014, he realized his first exhibition at Çağla Cabaoğlu Gallery, titled “Illuminating Sculptures.
Use and importance of light in shooting photographs serve as inspirations in creation of works based on light. And the idea of sculptures emitting light which could be viewed both as sculptures as well as design objects emerge and evolve through such an inspiration. His interest in respect of re-utilization of scrapped materials, when merged with light, emerges new forms of sculpture which are each lamps at the same time. Şenol Altun adopts in his works a method of creation which is mere improvisation. Upon bringing together the materials found according to shape, color and appearance, he creates his sculptures in a spontaneous attitude. This, at the same time, comprises of the transformation of the invaluable to the valuable, enlivening of the material at a new dimension, in a new form.
Necip Baykara completed his graduate studies in the branch of “Art Policies” by defending the thesis titled “Influences of Oppressions and Deprivations On Western Art of Painting.” He is currently involved with his doctorate studies in the “Science of Art” at Işık University. He received technical training on photography at Istanbul and Los Angeles. Together with the Semiotician Prof. Dr. Nükhet Güz, he conducted the course of “Photography and Visual Perception” for half a semester at Beykoz Logistics Vocational High School. He realized his first personal exhibition titled “Unrelated”, comprising of twenty photographs in April 2015.
The reason for Necip Baykara to start with photography, in which he was interested ever since his childhood, consisted in the motivation of catching the “moment” (carpe diem) and detaining it. Therefore, Baykara shoots his photographs without any set-up and plan, inspired by the synergy of towns, solely witnessing such image at the current instant. His objective while shooting photographs consists of extensions that the observer is acquainted with viewfinders that are not familiar. In his photographs that are plain at figurative level and encompassing structuralism, leaves the narration to the audience and aims that everyone finds and assumes his/her own story.
Received her undergraduate diploma from Dokuz Eylül University Buca School of Educational Sciences, Department of Art Training. Served as a teacher at the University as well as various other institutes, and also worked as a graphic designer. Ever since 1969, she has been organizing personal exhibitions and taking part in mixed art shows both locally as well as abroad. Akdeniz also has received prizes in her own field.
In an article by Fırat Arapoğlu drafted on the works of Nadide Akdeniz, he assesses her works as landscapes far away from mimesis, bearing excessively ironic elements. It is possible to consider the works of the artist as fictionalized landscape, because her compositions do not encompass traditional narration. By means of her plastic statement approaching pop art, she refers to a world beyond the perception of reality. From another point of view, the symbols brought together on her canvases are reminders regarding alienation, being left outside life. In the artificial world we have created, she causes the audience to encounter with deprivation of reality infiltrating our subconscious. In her compositions, she frequently causes the question “why?” to be asked and most of the time her works are the exact answer to the question so caused to be asked. Why? Because all of us are transformed into objects appearing to be alive and could possibly be looking indifferently to whatever is happening around us.
Levent Morgök completed his education at Mimar Sinan Fine Arts University, Department of Painting. Taking part in several mixed exhibitions locally as well as abroad, the artist has been meeting his audience at Çağla Cabaoğlu Gallery since year 2000. With his works of art in collections at the United States, France, Belgium, Dubai, The United Kingdom and Greece, Morgök is continuing with his activities in Istanbul.
Levent Morgök brings together different concepts which are seemingly representation of classical painting approach yet are diverse in respect of both technique and context. The artist attempting to disrupt traditional concept of painting via materials, which create painting as surfaces uses besides canvas, quilts, light boxes, metal as well as plexy, creates his works of art on new surfaces with new materials. In his both three-dimensional as well as canvas works, the artist creates a perception which liberates the audience or imprisons the audience inside the work. In his own words, the moments we live, words we utter are experienced and are to be referred to in the past tense ever since. While painting, tries to derive the experienced and perfectly crystallized instant from amongst the layers of time. And in order to give that feeling, squeezes his figures within those layers. Exactly like the layers of time squeezing our memoirs.