The flow of a tranquil line
"Each mark you make on the paper is a stepping stone from which you proceed to the next..."
-John Berger
Ferahnaz Apdiç’s second solo exhibition addresses the flow of human life from beginning to end, based on Paul Klee’s thought-provoking statement “A line is a point that has taken a walk”, which also forms the title of the exhibition. Apdiç’s works question human existence through the curves of lines, changes in direction and gaps, while presenting a profound narrative in monochrome tones with a figurative abstraction approach. This exhibition depicts the transformations an individual goes through from birth to death, with the effects of the concepts of time and space on the line. While telling the story of life, the line presents a linear and up-and-down flow with a similar movement.
Paul Klee’s approach to the line as an almost living being is also clearly evident in Ferahnaz Apdic’s productions. In the paintings, the line dances, stops and runs; in short, it continues to live. Apdic uses the line not only as a form or technical tool, but also as a thought process and the carrier of a cyclical narrative. His lines are a metaphorical journey reflecting the adventure of man’s life. This journey is expressed by lines that are occasionally interrupted, change direction and disappear in the gaps. The use of gaps and condensed lines together points to man’s existential searches and the uncertainties in his subconscious. In fact, just like the illusory and variable routine of life.
In his work “Ways of Seeing,” art historian John Berger describes the way people perceive the world through lines and images. According to Berger, lines are the most fundamental expression of the artist’s understanding of the world, and these lines trace our gaze. Apdiç’s lines also exhibit a similar tracing; the artist’s works invite the viewer to think about the cyclicity of human life. This cyclicity emphasizes the relativity of the concept of time and the fact that the individual is in a constant state of change.
In fine arts education, it is taught that “the combination of dots creates a line.” All the dots in Apdic’s works turn into lines, creating an ironic “punctum” within the cyclical ups and downs of life, and continue their search for vital meaning.
Spray paint, mixed media and figurative abstraction approaches used in Apdiç's works expand the physical and conceptual boundaries of the line. The randomness of spray paint sometimes causes the line to turn into an uncontrolled flow, and sometimes
allows it to change direction unexpectedly. This technique offers a powerful metaphor for the unpredictable aspects of life and the limited control that man has over his destiny. Apdic's balancing of this randomness with the spaces in his works turns into a totality of memories that reminds us of man's quests and the necessity to confront voids.
Apdic's self-reflexive gaze and his effort to recreate the world with his own eyes stem from his need to understand existence and the mundane. Every line is a slice of life, every curve a turning point and every gap points to an uncertain future. In this sense,
Apdic's works offer a journey into both the individual and collective past of man. The use of monochrome tones in particular strengthens the dramatic and melancholic atmosphere in the works. The black-white contrast highlights the contrasts of life and the complexity of human experience.
While expressing its elegance, it also invites the viewer to a simplified and deepened visual experience.
In his work “Poetics of Space”, French philosopher Gaston Bachelard discusses the relationship between humans and space through imagination and argues that space is shaped by memories, emotions and thoughts. Apdic’s lines reflect Bachelard’s idea creates linear forms that reconstruct space and time in parallel. The artist questions the spatial and temporal dimensions of life with his lines; each curve is a memory, each change of direction is a new beginning, and each gap is a waiting. Apdiç's figurative abstraction works treat the human figure not only as a physical entity but also as a spiritual reflection. These figures exist at the intersection of lines and gaps and make visible the person's search for identity, internal conflicts and transformation processes. Especially in works where concepts such as youth, maturity and the end of life are implicitly handled, the vague and blurred states of the figures also emphasize the changing and transforming identity of the person over time.
“A Line Goes for a Walk” depicts the rhythmic cycle of human life and the continuous movement within this cycle, while at the same time inviting the viewer to question their own life journey. The curves and gaps of the lines remind the viewer of the turning points, uncertainties and changes of direction in their own lives. In this context, the exhibition presents both a personal and universal narrative. In this personal and universal narrative of art, Apdiç’s works invite the viewer to a silent process of thought; they encourage people to question their existential concerns and the meaning of life through lines and gaps.
In conclusion, Ferahnaz Apdiç’s “A Line Goes for a Walk” exhibition addresses the stages of human life with the metaphorical power of lines, taking the viewer on a deep journey of thought about the life cycle. The journey invites the viewer to trace their own life adventure and confront gaps, subjects and situations in the process. As a linear narration of both individual and social stories, this exhibition presents life itself as a story, an excerpt from a real fiction and ultimately the trace of Apdiç’s own memories.
Melike Bayik
