art for collectors

   Ali Aksoy, Turkey

 

 



 

 

 


Contact
Ali Aksoy
Telephone:+90 507 790 39 68
www.aliaksoy.com

Ali Aksoy is living and working in Antalya (Turkey).

ALI AKSOY was born in Artvin,Turkey in 1957 and graduated from Karadeniz Technical University Department of Civil Engineering.He made an extensive research on the modern and contemporary paintings. In his works , the intensive use of the freedimensioned canvas rather than ordinary rectangular canvas have caused him to be called as ''The painter who doesn't fit into a canvas (frame)''. His 11. th personal exhibition took place in New York Montserrat Art Gallery in 2004 .The free dimensioned paintings he exhibited was admired by the New Yorker Art Collectors.He was choosen as ''The Artist of the Month'' by the Artdecollectors Contemporary Art Gallery in America.When drawing a picture not using the lines and colours with the approach which is as if taking the photographs of the objects,he continues painting works with his own colour and line expression.

The Shapely Compositions of Turkish Painter Ali Aksoy
Since the 1960s certain artists particularly of the minimalist persuation have employed the shaped canvas to depart from the traditional rectangular format and to lend painting a sculptural dimension. Few however employ it as successfully as Ali Aksoy a painter born in Turkey in 1957 seen in a recent solo exhibition at Montserrat Gallery 584 Broadway in Soho.
What distinguishes his work is how successfully his gestural style jibes with the various odd shapes in which he works creating a perfect synthesis of subject and support. For the most part Aksoy’s compositions are abstract. Most consist of linear gestures shapes and color areas akin to the paintings of the American artist Brice Marden for their mazelike configurations. However Aksoy occasionally includes certain simplified reconizable shapes as well such boldly outlined floral forms or a helicopter or an automobile or the rudimentary houses and other architectural shapes in the largest canvas in his recent show at Montserrat.
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Varied Places, 1992 Acrylic on large canvas, array total size 1.95 m² (square meters) us$ 10,000
Forest and underwater, 1992 Acrylic on large canvas, array total size 1.90 m² (square meters) us$ 10,000
Storm, 1992 Acrylic on large canvas, array total size 1.80 m² (square meters) us$ 6,000
     


 

 

 

 

Photomodel, 2003 oil on large canvas, array total size 1.35 m² (square meters) us$ 7,500

Inside of Castle, 2003 oil on large canvas, array total size2 27 m² (square meters) us$ 10,000

Composition, 2003 oil on large canvas, array total size 2.60 m² (square meters) us$ 8,500

     

Here sketchy buildings were clustered at the center of the canvas and bracketed between vigorous strokes of red blue yellow and black laid down with a broad brush. These roughly curving strokes extended to the edges of the canvas which jutted out like wings at the top of the composition giving the large painting a buoyant feeling as if it were about to take flight. The feathery quality of the brushwork further enhanced the wing-like effect although Aksoy obviously makes no attempt at surreal symbolism and would seemingly prefer for us to view his paintings for the formal rather than their allusive qualities

Yet like Elizabeth Murray another artist who employs shaped supports consistently and effectively Aksoy’s work invariably suggests imagery above and beyond the abstract qualities that lend his paintings their main thrust. Indeed these suggestive bit of imagery imbuc his paintings with a unique evocativeness which adds considerably to their appeal. That said we can do nought but marvel at the skill with which Ali Aksoy dissects space and animates the picture plane with bold swerving lines often in black overlaid with tones of red blue or yellow that convey a spiritual kinship with Mondrian’s palette of brilliant primaries.
Aksoy however is very much the gestural painter employing line calligraphically in the manner of an action painter and the odd shapes of his canvas contribute to the sense of movement in his work by alternately nipping certain shapes in the bud with their abruptly cut away edges or allow others to expand and continue where the limitations of a rectangular canvas would restrict or abort them.

Aksoy exploits such compositional opportunities thoughtfully providing us in the process with an exhilarating new way of looking at the painting of visually inhabiting its space and being pleasantly taken aback by its compositional anomalies its sudden unexpected departures from the norm. In the final analysis there is little more that we can ask from any artist than to surprise us. And that is one thing that Ali Aksoy manages to do consistently catching us off guard and stimulating us again and again with his energetic and engaging shaped canvases.

Chris Weller