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İbrahim Koç was born in Mersin in 1980. As a youngster helearned the craft of a blacksmith in the Forge of his elderbrother and he learned other kind of meterial technics fromhis uncle before he studied Fine Arts and graduated from theMimar Sinan Fine Art University(MFA) in ̇ stanbul. He has participated in many exhibition and international festivals in Australia where he lived and worked for four years. He is incollection of Baksi Museum, Elgiz musum, ISSC Museum anda lot of art galleries on the world. His artworks also in many private collections and public spaces.. In his previous work , concepts of game. In this interrogation, concepts are drawnthrough figurative narration, and the sub-meanings arepointed out. In the process of his artistic production, aim toreverse the symbols underlying the images or mindsregardless of the content, material or technique that he use. 'We, as humanbeings, ascribe a symbolic meaning to everything related to the nature and we frequently use those meanings while reasoning. In the process of my artistic production, I aim to reverse the symbols underlying the images or minds regardless of the content, material or technique that I use. Therefore I think of discovering the new ways of reading the images by reflecting subjective and social queries. Power, potency, manipulation, nature, symbols, selection and the game. I aim to expand the images of the past and transfer the message by making the art-lover as an active participant of the process. All above is my main concern and desire which might also be thought as making the receptor reach to a catharsis and a free phantasy world' he says.


Art Historian Fırat Arapoğlu For the artist;
“Koç's sculptures greet the audience at first sight with an expressionist style. But the artist is not satisfied with this, on the contrary, he wishes that a long reception process with sculptures should be entered in order for his message to be activated.
The dimensional inversion of images can lead to many post-modern readings, while overturning the meanings loaded in the image. In this way, the minimal structure in the sculptures contains maximum irony. One of the parameters that support this judgment is the following; İbrahim Koç disables his subjectivity after a certain degree and leaves the stage to the art audience (and reader). Its purpose is clear: to reveal the genius readers, not the “genius” artist”.

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