Photofusion
AESTHETIC SEEKING IN PHOTOGRAPHY AND MY PHOTOFUSIONS
From the perspective of art, it would not be wrong to think that photography has been adopted as a new means of expression even today, according to the art of painting. Photography, which has emerged since the first quarter of the 1800s and is constantly developing with technical inventions and taking place more in our lives, proves its existence as a means of both functional and aesthetic expression, especially today. However, as an art, one of the main problems in photography, as well as the importance of technique and machine equipment, is how to approach photography in terms of creativity. It is this approach that turns photography into an art object. Because photography has the same principles and the same critical environment as all other visual arts. It is clear that only technical competence or machine equipment will not be sufficient for a successful photograph. Photography achieves success when it is able to visualize not only the formal, but also the philosophy and ideology of artistic acts that go back almost as long as human history, which the artist has achieved with original and aesthetic concerns, depending on his creative power. In this context; The mentality behind the Modern Art Movement and movements from the 1850s to the present, and more importantly, the understanding of the concept of beauty by photographers emerges. Knowing Caravaggio’s revolutionary understanding of composition, Rembrandt’s light, Renoir’s brushstrokes, Van Gogh’s yellow, Bauhaus’s understanding of form and stain will definitely make itself felt in photography. Photographs, in which artistic concern as well as technical skill stand out, establish an emotional connection with the viewer as they also include creativity and artistic solutions. After all, isn’t that one of the purposes of art?
Today my photographic works , which I call photo/fusion, are actually a reference to modern art movements with an inner orientation. The viewer will feel these clues in the relationship between form and stain on the surface, textures, colors, figures and the use of light (which is not natural light).
At my works, I tried to create a single image that consists of many layers but ultimately tastes like a peinture (light, balance, movement and the illusion of depth) by bringing together many photographic images through photography. Small pieces-images (photos) come together in a pre-constructed way, just like in a jigsaw puzzle, to form a meaningful whole. Although it is debatable whether my works are photographs or not, it is a fact that all the material I use is photography. At this point, I think that the sentence “taking a photograph” would be more accurate than “taking a photograph”. As we all know, the camera is based on the technique of presenting the image entering the lens to the viewer by pressing the shutter button once (single shot). In this process, the photographer does not have much chance to interfere with the image, at least it is limited. Here, however, the photograph was obtained by combining single shots taken in different places and time intervals in a computer environment. Even if the resulting image creates a single photographic effect on the viewer at first, when viewed in detail, the eye will be able to easily separate the layers and attachments that make up the whole. Although it evokes the collage technique, unlike collage, the layers here are permeable and their borders have melted and fused with other layers. For this reason, I think it would be more accurate to express it as “Fusion” instead of “Collage”.
Undoubtedly, while creating my photofusions, it is clear that I take into account all compositional principles, both aesthetic concerns and plastic values (light-shadow, full/empty space, light/dark, contrast, balance ), and the visual integrity that should be in the peinture, especially as an aesthetic element.
