In 2017, Gökhan Deniz has decided to turn his palette into his canvas. He has given prominence to the composition that he had previously used with different techniques in the background or in the spatial planes, thus enabling the techniques and methods to take a different role. However, it was only possible to reach this point through an experience that had not been gained beforehand. Feeling the peace of unity rather than the sanctity of being a family, the artist has withdrawn his hand from the canvas and instead began to add himself to the canvas. While leaving the paint to flow, he has created his paintings with intuitive interventions, the unwavering peace of being as if up in the sky or deep in the oceans. He has created a new medium with a solid infrastructure where we could see tons of pattern sketches and paint trials: Landscapes.
Playing with the perspectives, he has transformed the confined spaces by moving the paint on the canvas. After a while, his works, which have become independent of the figure, found a quiet and deep path with a variety of materials and dimensions, not forgetting that he had found different answers to similar questions years ago.
In the history of art, especially in the second half of the 20th Century, the artist has created the object-pushing areas of object-free painting by pouring paint, splashing, throwing, and tracing only the brush. These methods allow the viewer to move along with the movement of the painter in the painting, as if the painter is still involved. For many years, Deniz has been concerned with the perception of distance, the intensity of expression in the figure and the fair share of the trio of the painter, the painting and the viewer. Therefore, the place he has reached is not a coincidence but an apparent result. There is no other intervention other than directing the painting and the selection of materials. The paintings come to life with the traces of their formation, such that the viewer goes away upon approaching and stays away while getting closer. Landscapes, which are an area of experience, become mobile surfaces that are not acquainted but then encounter surprises as they begin to see, exceeding two dimensions. With this-state-of-being/being-in-this-state, the paintings that evoke open spaces and constantly expand the space that have been created. Using canvas as a material is also Deniz's own contribution. Plexi canvases are constantly in motion with light. Stainless steel canvases do not reflect the anticipated reflection into the audience but nonetheless make the light feel up to the spectra of colors. The classical canvases created spaces that opened up to different worlds with the technique used by the artist (both primer, paint mix and varnish), and pushed them to see more.
As those who have transformed the Western tradition into a habit of seeing, we experience a kind of loss in the paintings of Deniz who approached the deep logic of Japanese artist Hokusai in his paintings. These paintings make us feel as if we are in many different realms and demand the courage to leave our routine. The distance we determine will not determine the plane anymore. On the one hand, we are drawn into a piece of nature that we do not encounter and want to be in, with a completely different insight, similar to Yves Klein's reflection of the traces of nature in his paintings. What is meant by the piece of nature is actually fused areas formed by light (especially the way the paint is used is the emphasis on light). However, it is impossible to consider these areas as planned because they create flows that are reconciled without analogy, represented unnoticed and unlike any other space.
Deniz simplifies the invitation of ‘silence’, which he has made through his previously used figures, with the aforementioned serenity. This simplification allows the viewer to be involved in the process to the extent that he or she strengthens the mind and intuition in the movement's inner fiction of painting. Movement turns into action; stationary canvas emerges from an image that captures flowing, standing, freezing or evaporating water, and becomes the action area of water. In ancient philosophies, one does not have to resemble the other. For it does not have to resemble ‘the one’, the whole itself. However, the relief of analogy (such as searching for portraits in an abstract painting) is drawn to a mental questioning field by those who feel the whole and know about the fragments as much as possible. Deniz's paintings do not interfere with this analogy, they rather offer an unexpected action, draw the audience to their own space by surprise, speed is proportional to the intuition of the viewer.