This exhibition, which he describes as “Black and White Project Exhibition”, consists of 25 linoleum prints. Since he acted with the idea of a “Project”, he also brought together elements such as size, technique and stain values (black and white) to form a whole. Among the reasons why he realized this exhibition as a “Black and White Project” are factors such as the power and dynamism of black and white, the incredible plastic structure of linoleum (the flexibility it provides to the variety of textures, spontaneous work and easy to carve by carving knives). Also, semiologically, the plain and connotative meanings of black and white have always fascinated his. Plus and minus, hot and cold, night and day, black and white. Values at different extremes that reject each other but whose existence depends on the existence of the other. These contradictions, which make life meaningful, are often reflected in our reactions to the outside world and ultimately in our personality as a way of behavior. You either exist or you don’t. You don’t have to submit to anyone to exist. your life; It does not depend on your being a man of order, but on your ability to rebel against your environment, the negativities and injustices around you. This is where his approach to art emerges. This thought was the reason why he chose black and white especially for his works in this exhibition. In addition, if we consider that a staining approach is the basis for his linoleum prints, it is immediately clear how important black and white are to us. Translating the objects in the outside world by depriving them of light and ignoring their forms and reducing them to the pure form level (color or black and white) constitutes his approach to printing techniques.

The artist has a worldview according to the characteristics of the society he lives in. Therefore, social events, life and culture also determine his understanding of art. In his prints, traces of his being an Anatolian and Mediterranean person can be found. As an artist, his aim in this exhibition is to mingle with the culture from our history, to contribute to the development of our social consciousness by presenting the values that make up our culture to the audience with a post-modern style. In this sense, his athlete portraits are actually BC. II. It contains references to the Aegean sculpture art of the 19th century. His work on the “Sardinian Flower and the Resting Woman” is actually a modernized version of an archaic Anatolian figure.

Adherence to external reality constitutes the basic movement in his printmakings. This is like the natural result of visual orientation. The harmony and strength of light-dark values indicate an internal orientation that reflects our position relative to the outside world. He is trying to create a solid balance on the surface with this. While opposing elements clash with each other, they also create dynamism and enthusiasm. He increase this dynamism by intensifying the contrast (by discarding intermediate values).

In every work of art, there are codes and symbols belonging to the world of thought. These visual codes, which consist of tensions between objects, can cause an illusion of perception. Contrasts take on a role that facilitates the perception of this visual coding, and clarifies the subject to be explained. Another task of this contrast is to add excitement to the subject He wants to talk about, due to its internal dynamism arising from its fiction. The balanced-contrasts in his prints offer the viewers the possibilities of his free thought by making certain associations, thanks to the relations between the elements that make up the work.

We know that all animate or inanimate beings, art and industrial products are composed of opposite elements. There is no ordinariness-randomness in the formation of products-objects that appear as a “Whole”, that is, in the coming together of the elements that make up this opposition. The elements that make up the contrast (black and white) form the “Whole”, not randomly or based on coincidence, but by placing them according to a system that is specially selected and with the harmony of logical-aesthetic contrasts and the structure arising from images.There is balance and harmony in this formation. Contrast is maximized by using white (whiteness of the paper) as the lightest value and black as the darkest value. Thus, the movement and weight effect of light-dark (white-black) spots increases. In cases where two values get closer to each other (intermediate grays and middle values), the intensity of the contrast decreases. This causes the work to be perceived as still and stagnant. As the tension of black and white increase, they trigger each other’s powers and strengthen the narrative. While opposing elements clash with each other, they also create dynamism.

Hence, out of this conflict arises enthusiasm-movement. The stronger the opposition, the greater the dynamism. The smaller the angle between the contrasting elements, the less the dynamism and the work loses its excitement. By changing the contrasts (space-space) between dark and light, sensory perceptions can be created in the audience. The stronger the contrast between the lightest value and the darkest value, the clearer the design becomes. That is, if the contrast between the two figures is clear, the figures seem to be separated from each other. If the transition between the light and dark value is close to each other, uncertainty occurs. Thus, it is ensured that the faint stain is thrown into the background according to the specific stain. As long as the light and dark values are in a functional harmony, the form stands, if this harmony-balance is disturbed, the form collapses. Create sensory perceptions in the audience by changing the contrasts (place-space) between dark and light. By changing the contrasts (place-space) between dark and light, sensory perceptions can be created in the audience. The design becomes clearer as the contrast between the lightest value and the darkest value becomes stronger. That is, if the contrast between the two figures is clear, the figures seem to be separated from each other. If the transition between the light and dark value is close to each other, uncertainty occurs. Thus, it is ensured that the obscure stain is thrown into the background according to the specific stain. As long as the light and dark values are in a functional harmony, the form stands, if this harmony-balance is disturbed, the form collapses. Creates sensory perceptions in the audience by changing the contrasts (place-space) between dark and light.