Ismet Dogan is seen as an established contemporary artist. Ismet Dogan was born in 1957. Artists born in the same year and of the same generation are Jorge Botero Lujan, Thomas Werner, Stefan Mås Persson, Franco Matticchio, and Vitor Ribeiro.
Further Biographical Context for Ismet Dogan;
Ismet Dogan was born in 1957 and was primarily inspired by the 1970s. The 1970s were a period of consolidation and development in the arts, most often defined as a response to the dominant strains of the preceding decade. Conceptual art developed as a key movement, and was in part an evolution of and response to minimalism. Land Art took the works of art into the spacious outdoors, taking creative production away from commodities and looking to engage with the earliest ideas of environmentalism. Process art combined elements of conceptualism with other formal reflections, creating mysterious and experimental bodies of work. Expressive figurative painting began to regain importance for the first time since the decline of Abstract Expressionism twenty years prior, especially in Germany where Gerhard Richter, Anselm Kiefer, Georg Baselitz became highly powerful figures worldwide. New York maintained an important position in the international art world, ensuring that international artists continued to flock to the galleries, bars and downtown scene in the city. The predominantly Italian Arte Povera Movement gained global recognition during the 1970s, with artists like Jannis Kounnelis, Mario Merz, and Michelangelo Pistoletto attaining worldwide recognition.
About Mirror Series:
We have started observing mirror in art history initially in the art of painting. Distance between any painting and image reflected in the mirror which is contained in the composition of that painting bears a specific interpretation and meaning in the process of perception of such clearance by the viewer. On one side production of a painting as a two-dimensional plane, and on the other side the image reflected in the mirror are displays of a diverse painting reality. Then why does an artist use a mirror and desire to introduce it as a part of his production or actually itself?
It is seen that in art history mirror imagery or mirror itself is used in several productions and as part of a symbolic expression, It is used for further emphasizing the realistic expression on the painting platform ,or within scope of questions like what is real and what does that mean. Likewise, by using mirrors İsmet Doğan is realizing the demonstration of some kind of ‘non-seeable’ by using the position of the viewer, the background and other-look.
Continuing to create works ever since 1990’s containing ‘mirror’ as an element, İsmet Doğan’s rationale behind using these convex mirrors appears to arise form his apprehending the profoundness and roundness of the earth. Thus, mirror creates yet another World, in this second world, while looking at the work of art, the viewer is now transformed into a ‘participant’. Image viewed in the mirror , as a part of production, concurrently starts getting differentiated. While the viewer is looking at such Works like ‘Ego’, ‘Mirror’ or ‘As If You Were Here’, starts communicating with the work. Thus Works gain a dual depth and now you are inside Works by Ismet Dogan . Rest is up to you!
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