Paintings, which or where it starts or ends I cannot place on the perceptive dimension and if these embody an action, reach a documentary dimension since they carry a certain moment or moments on them. To put it into a more realistic expression, if there are documentary qualities in the concrete emphasis, why not the same exist in the abstact emphasis? It naturally does. So is Nur's paintings which are born by establishing close connections with moment and moments. Especially in her artistic character, spontaneous processes are always there. So, while "spontenous instincts" and "expression" contribute to the formation of paintings, the completed form of the paintings is nothing but a "record".
In Nur's paintings, spontaneous stresses develop under some contradictions. In this context, the most distinctive contradiction is "intensivity" and "remoteness". Also the mentioned contrary stressses do not refuse those figurative distinctions which are quite dynamic and ready to convert into images any time. The compositions are open to acts of drip and diffuse where paints or mixed materials mingle into the painting very easily. The artist is able to play with the material and by mixing the paint with different materials she shows her inclination to various superficial dimensions. The reflexive formations are so many that who can say Nur does not seem like a person who is ready to reflect her psychology like a paleolithic age man. Furthermore, referring the existence of such relationship is also a right interpretation of the artist.
After a first glance, it would not be wrong to claim that Nur's paintings are "included in the boundaries of the action painting . But, at this point, the audience must not forget that such a painting structure —since expression ofeach individual is not the same-, shall automatically include under the roof of a style called action painting, but shall not prevent the fact that each artist under this rule is free to create different approaches. I believe this you will be kept as an advantage as long as the artist is sincere in his/her approach to action paintings.
Most of the paintings of the artist have themselves accepted on the surface. In some of the paintings, we cannot refuse some compositions where artist's original masses contact with emptiness that give chance to the void. Still, masses which take place on the surfaces are stressed with their colours leaving behind the surfaces which are completely turned into atmosphere.
Thus, within the artist's approach to the painting, it is clearly defined that there exist a relationship between front and back. Masses which are defined through colours have started checking towards space between them. This, in a way, is the result of stable relationship between the colour and action painting structure.
At this point, abstraction and another side which provides reaching to abstract based on different cosmoses through it are staged. Moreover, These patents are paving way to a book strucure. They, like a diary, are equipped with facts which areencountered minute by minute. These patterns, and in some respect sketches, which embody fantasism and which are based on human figure, I think, do connect to paintings with mixed materials. It is possible or not possible to recognize this connection at the first look, but amorphic structure of patterns and fantastic emphasis, prove that action painting philosophy which seem to related to Nur's paintings, is something which is only expressed in form and is crossed out without it. This also reminds us the wildness. It is a known fact that wildness has always brought about the instincts, passion, psychological moods, violence (applied through painting materials) and madness.
Once we met, I had told to the artist that "your paintings absolutely have a dimension of art psychology". So, expression of the artist and perception of the audience are very important in the analysis of such dimension. Art psychology reveals itself by developing between "the artist and the audience". In the analysis, both sides are evaluated and thus a different dimension in the approach to the related painting style is achieved. I think each painting of Nur conveys us a dimension of art psychology in slice of time, and we combine the painting with our momentous psychology to reach a different dimension. And what I am trying to tell keeps going by renewing itself on the same line.
In some of Nur's paintings, especially those with back and forth plans, and also in her compositions which give change to human images which resemble caricatures, there are interesting and primitive forms which may prove my above statements especially on the formational level. Such a taste, with the effect of the colours may remind one a pop world. Furthermore, I have to state that such tastes remind me artists like Penck, Haring and Polke in regards of a dimension and moment. What are these artists and Nur trying to do with the mentioned approach? I think it is the continuance of their personal worlds effected and motivated by their society giving importance to spontaneity based on a certain moment and leaving records. So, in this context, I think Nur will leave her inner emotions free and continue her journey by always leaving a record behind.
Özkan Eroğlu Küçükyalı – March 1999
