The Paint Store


An Architect, an Artist: A Performative Installation
In her approach to architectural design, Buşra Tunç, who makes the coming together of structural elements an important question of design beyond their carrier functions, comes together with artist Yağız Özgen for her solo exhibition. Buşra Tunç, who is well acquainted with the dynamics and complex texture of the area, is designing a structure for the artist's work in the form of an installation based on the urban fabric of the Thursday Bazaar in Karaköy, which is mostly composed of hardware stores and painters.

Based on Yağız Özgen's idea of presenting the material components and processes that make up a painting through an installation in a gallery space, the painter's shop structure in the exhibition "Painter" transforms into an architectural performance with the way its load-bearing components come together. The installation creates a painter's atmosphere by bringing together found and treated objects, some of which are used for painting or wall painting, in the structure in the gallery space according to a specific plan. The structure designed by Tunç to create the painterly atmosphere is based on the idea of creating a construction that does not hide the material it is made of, but reveals itself as it is. This approach is combined with the idea of presenting the material without disguising it as something else, which is the main issue of the exhibition.

In this context, the design of the building is based on two approaches: First, Tunç utilizes the techniques and aesthetics of crating used in the preservation and transfer of artworks. Secondly, the idea is to reconstruct the wooden frame on which the painting is stretched on the canvas cloth as a three-dimensional structure. The construction of the painter's shop adopts both of these approaches, using identical materials in similar dimensions. In this way, Özgen and Tunç construct the process of an artwork from preservation to exhibition as an open performance object. The demountable double-walled structure of the painter's shop plays an important role in the display of all the materials it contains and their relationships.

The first encounter with this structure, which is placed in the center of the gallery space with its back to the main entrance door, is with the skeleton (construction) itself. This structure, which looks like a movie set from the outside, offers the viewer the atmosphere of a painter in the Thursday Bazaar. With this shop setting, where the painter meticulously arranges his materials on the shelves, the approach of displaying the painting by decomposing it into its material components is staged.

The technical drawings for the presentation of the work were prepared by selecting the colors of industrial paints reproduced by the artist. Thus, avoiding coincidental relationships permeated all stages of the work.

Oğuz Karayemis' exhibition text describes "The Paint Store" as follows: "A shop in the optical heart of the gallery: a building on this plane, where one might expect a sculpture on a pedestal, now folds an outside of the gallery into the gallery. The reconstructed paint store at the heart of the gallery brings the two sides of art together, intertwining the space-times formed around various aspects of artistic performance.”


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