1-25 DECEMBER 2021

Today, we are witnessing a quite different life cycle, the significance of which is indisputable for the world history. In this period, when our freedom is unavoidably restricted with vital concerns, the work of art has been incontrovertibly loaded with symbols which make the artist’s mood legible. Tuncay Topcu has an abstract understanding of painting, but we come across extremely evident, formal differences in his paintings, despite the absence of a story. Besides the use of more neutral colors, instead of FoV colors, in geometric color areas, the most evident formal difference is the presence of the black line becoming more evident, which is an active part of the artist’s style, is the lifeblood of his paintings, moves around freely on the surface, and has a delicate and fragile nature. The line has gained an extremely intact and more effective form, which restricts the relationship of amorphous images shaped with a sort of matted colors with other colors-forms. It has “gained” the form since this situation may change at any time, and the line may turn back to its former fragile nature, whereas it also has an appearance that clearly reflects its feeling. It is also apparent as the most evident characteristic reflecting the restriction of freedom. The line has confined color by building a wall on the borders of these geometric areas. While the individualization of almost every geometric colorful form produced by the artist is witnessed, the form is reshaped as a reflection of the restriction in real life and the change in the artist’s mood. Essentially, these paintings reflect the mood of not only our society but also the world in a universal sense.

The appearing form is clearly the “new representation” of the image in the artist’s own world. As a result of the artist’s expression, the unique “new figure,” an individual way of expression, is born on the canvas surface as an amorphous image. Although these paintings, in which line assumes the constructive power, fit the world, the infinite universe, and its entire inner world into the abstract spaces comprised of these narrow geometric areas, this “amorphous image” that carries an inner dynamism exists on the canvas surface as a symbol of the endless processual characteristic of Tuncay Topcu’s painting.

Dr. Ferhunde Algaç Meriç 
November 2021