As being 'one-whole' and a floating elegant profile, the body language constructed by paint, pattern, canvas, and photograph reflects the tension of joy that it leaves to our senses. The red wrapped with chains and winding up with figures confronts us with the close contact of pleasure; woman and her couple. My attitude in compilation of "one-whole" that combines many identities left itself sometimes to a mirror or the depth on a plexiglass surface, sometimes to a wooden construction in winding up of figures, or to metal constructions like chain, wire, and wine cork. In this perception, the sections that I got from the body - partly feet which provide woman strength and keep her standing up are also derived from her soul - prepare us a visual feast. The intersection of all these visual expression is the aesthetic of female body and each curve of it. Women may be a visual appeal but it needs to flesh the body and to touch the soul. Lust should meet all kinds of satisfaction in the painting.

translated by: Ayşe KOŞAK

NESTED
Sevim AKTEN

Describing the fragile language of body, complex emotions, love, passion, freedom, the tension of pleasure with colors. The chains that are tangled, interconnected, strained, dissolved and broken. Either in Time or on a Starry Night or in Little Things. Integrated bodies, Intertwined, interlocked, separated limbs have been fictionalized, becoming a Whole. Images that depict a universe where everything, everyone, all feelings and thoughts are Nested.

The Tension of Pleasure, Five Senses, Brainstorming, Node, Starry Night, Passion, Wine and Woman are formed with slapdash brush strokes. Feelings that are emphasized sometimes with red and at other times with blue. Spiral touches that describe the hand reaching towards freedom, broken chains; not the captivity symbolized by wire fences and chains. Instead of chains, a window opens up to the sky, dissolving node, a conceptual sense that evokes freedom and eternity.

Expression of intense emotions depicted through the language of image, the most appropriate plural narrative; from different disciplines, composed of different materials: the artist’s perception is not only a single perception in the 'now', all technical based contexts are meaningful. The canvas is no longer a visual object, it’s Open Artwork. It is mysterious, but open to interpretation; with its inner and outer surfaces. However, the object of perception is not limited to one table. It’s Whole with others. A continuation of the other. Nested images coincide with each other. External regressions provide integrity. Depth that is formed with canvas and plexiglass in the classical sense. From falling pebbles to cliffs, shooting stars, waves intertwined in the sea. Extremely deep.

The transparency of the plexiglass, the smell of cork carries a taste of wine to the canvas. The unique harmony of content and format: Nested. A happy meeting on a Starry Night that emulates Van Gogh. Azure blue skies reach out to the green - yellow earth. Soaking wet with starbursts. The only witness they have is the figure who surrounds the space all along with lithe touches. The power of plexiglass, the vast sky, a troubled earth, the mirror of eternity.

Red is certainly the hottest among the colors. Crazy, emotional, dramatic, pathetic red. Red does not only recall passion and pleasure, it also recalls continuity, renewal, love, triumph and fertility. Moreover, red is a warm color which is collator, embracing colors, each more beautiful than the other. Red always has priority. However, its charm does not leave blue, purple, green and yellow in the shade. In sum, it is Nested metaphoric narration. Imaginative, deep, multi-layered and poetic. It is an artist’s rich inner world formed by the images that move with spiral touches and the languages of colors.

translated by: Yusuf BİLGİN

HOW THE RED, THE LANGUAGE OF THE BODY, DOES SPEAK?
Ahmet CEMAL

"The red language of the body" is it a random choice?

Besides of that, while red is the main language of the passion since the prehistoric times of art?

If Yaprakkıran’s paintings are at issue; the answer is no.

Since for the painter beyond then the language, red is already returned to a program in his painting narrations.

The woman in the paintings that we are standing in front of them returned a kind of temple, not only by her body but also by her all existence. A temple built up with living stones. The stones that the painter is never fed up with touching them.

This point is very important.

For why; the painter is not using red only as a color. Red is a language which comes to existence by his all fingertips’ patterns that are set to paint.

Sometimes he touches on the photographs. Sometimes touches on the paintings that he glamorizes with other colors. Always with his red fingertips… While his fingertips are descending from the neck of the woman to her chest and legs and ascending back to up, he always breathes out in the meaning of bringing it to the life. He examines all surfaces of the body that he is breathing out, measures, loves and transforms it to the symbol of endless life of true love.

Delight is talkative with a vengeance in his canvases and photographs. Woman reaches her deserved prestige in the nature through that communicativeness. After the threshold of that prestige she is neither any more the subject nor the object of the painting.

She is directly the owner of it.

As rendered a language of both unexpected and expected moments, while red is filling independently all points, spaces and lines in appearance; the observer, who kept their eyes open, set out on a journey towards privation which is lying deep of women by the ruddy fingertips of painter.

The arrival point is where the painter -who cannot live without women and art-, speaks a totally unique language. With start of the speech of this language, the bodies which seemed as they were fragile at first are suddenly attired with an unexpected power.

And again, at that point the presence of the painter becomes very important.

With that presence, instead of only using or getting the women, the painter concretizes that he can call out the life solely through her body.

This is the upmost respect of men to women which is sacrosanct fertile of nature.

Women seem like exploring the men under the guidance of red language of body throughout the paintings.

translated by: Çiğdem GÖKSU

BODY CANVAS – CANVAS BODY
Necmi GÜRSELER
 

"Sight opens all space to desire,
but desire is not satisfied with seeing."
Jean STAROBINSKI

Yaprakkıran’s work embodies desire in which red entraps with each bodily movement. Even if the canvas within its own delineations is foreign to us, Yaprakkıran’s work breaking these boundaries, reflects intrinsically onto the body. What does red entwined onto the body symbolise making itself thus attractive?

Yaprakkıran identifies red with the trivet "Rouge: le vin, la femme, l'art" (Red: wine, women, art). Drawing a path, a body, that becomes blood and mingles with tears at times. The contact enabling perpetual motion starts at the interjunction where the body is canvas and canvas is the body, as the body stretches centred on the canvas.

Following the footsteps of fulfilment originating from the mysterious call of the woman moving away from us, we cannot help but follow, if only to feel the immortal spirit of touching for a moment.

Infinite desire for the unreal is another phenomenon triggering the delectation of warm contact. In other words, Yaprakkıran displays finesse in relaying without assuaging the lustiness of touch which we see, sense, smell and that surrounds us. Within the splintered fragmentation of continuity activating touch the symbol eroticising pleasure is the female body. Which touch can distance itself from such divinity? With this in mind, merging different symbols, we set out on a journey on the female body through the nonstiation of lust enforced by red.

Does not the touch of a hand encased in reaching for the call of a woman surround us in the nets of the moment? In that moment we die and our hand reaches out to the door opening the secret lock of eternity. Eyes and hands fastened upon the incontestability of the reality of time are at the pinnacle of ecstasy and also at the threshold of pain, breaking and bleeding. Thus our ecstatic soul trails after that short moment.  At that point Yaprakkıran uses photography. But, removing photography from its raw state, correlating it with picture, internalising the moment with such intervention...

In short moments separating dust cloud like time, with the red touch enslaving or freeing hands completing itself, we lose ourselves in the rapture of wine mixing with blood.  To lend a hand to the scream from the deepest souls of the frozen look of the eyes, parted lips and curvaceous bodies, we move to the shores of broken hearts in the continuous flow of blood. The bleeder is the one bleedings in this intricate immortality...

We are seduced into having the tormented flow of an encarnalised hand. Yaprakkıran opening the doors of life, not refraining from confronting the other in the presence of immortalising moments, provides us with the reflections of the soul flung towards the cliffs of silence where lines converge and twist, hands contract and are shackled. The symbol of red merging with all parts of the body especially the movement of graceful hands, turning into fragmented bodies orients us towards the aesthetics of pain. Through the suspense of the lust it leaves on our lips, at the meeting point of paint, design, canvas, photographs and other add-ons and in the language of the female form leaning on the synthesis of these, this exhibition opens up a new horizon to us.

translated by: Şirin YENER