Criticisms-Turgay Kantürk

On Rıfat's paintings...

Rifat’s paintings between 1997-98 carry the traces of a performance, together with a well-thought-out setting and standing. With the titles given to a series of paintings made earlier, Rifatgives the viewer clues; Spiral Dreams, Nightmares and Fears, Night of the Fish.These eccentric and hard thematic Works Express a creator’s (or candidate’s) search for identity and character. The following period’s work displays a certain change and maturity as can be seen in the series titled “Breakfast Table”. The “My Ateliers” series dated earlier, show signs of the formation of a stylistic maturity. Later on begins a period where the figure and stillife meet. This approach which breaks perspective, stands close to the spell and concealing power of colour Chidhood dreams where the figure plays an importand role, turn into a kind interrogation. A period where daily life and private life overlap begins. In his exhibition before 1998 titled “Downhill”, Rifat touches on life’s continuty. The famele figure becomes central to meaning. The emotion created brings the paintings to a different phase; space is no longer the differentiating aspect. Rather than expressing a stuation it becomes a backdrop. Following this multi-perspective approach, Rifat frees himself from the depicted and establishes a closeness to the painting where colour, paint and composition find their place and travel towards a different reality. At this point, colour and figure liberate themselves, paint continues to conceal the drawing and becomes a textural element. The ‘seen’ world becomes the depicted, showing signs of a search for maturity. Even in his landscapes in which we

Last words: “…the balance between the iner and outer worlds has come to a standstill.”

Hermann Broch

Turgay Kantürk