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Fatmagul Karadeniz

portrait-fatmagul-karadeniz

BIOGRAPHY / ISTANBUL, 1963

Fatmagül Karadeniz graduated from Bosphorus University, Tourism and Hospitality Management Department in 1986. She was engaged with design works at Kasım Koçak Workshop in 1990, and with painting at Orhan Taylan Workshop between years 2000-2002. As from 2005 onwards, she started to work with Çağla Cabaoğlu Gallery.

The passion for art of Karadeniz commences with collecting. By the time progress, she was leaded her to her own drawings. Her initially emerging narrative starting with the figure is later transformed to the abstract. The artist shapes her technique according to her creation. In parallel to the proliferation of the patterns of expression, she is not limited solely to the canvas. Installation becomes a form of expression sought recourse in order to expand the boundaries of means for narration and creation.

Karadeniz assumes her source of inspiration from the trips made to the distant tribes and isolated cultures in the East and the West alike. Every experience is transformed into her music and is enlivened in her works upon transfiguration. Visual layers forming the town of Istanbul for a period of time more than two thousand years, play an essential role in the early paintings of the artist. At the aforesaid period, in the background of abstract compositions, appear queens and hierarchical characters reminding Byzantium symbols. She refers to the concepts of ‘time’ and ‘existence’ in her works. For human beings, these two concepts are memories remembered as feelings and experiences, whereas for towns they are remnants from past civilizations. Our personal memories resuming our past in this world and remnants left behind in the towns are transformed into layers of color shades and paint in the works of the artist. Her sensitivities are converted into sources nourishing her works. Karadeniz oversees not only cultures and cultural strata, but sorrows of our time as well. Her recent figurative aquarelle exhibition titled “Mesopotamian Women” is a product of such an oversight. Women are suffering in the Mesopotamian region nestling Iraq, Turkey, Syria and Iran. These women have no homes, beds and identities. Karadeniz introduces and presents us in her works the hard living conditions of the women of those regions from a different perspective.