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S.Gokhan Ercan was born in Istanbul in 1965. He graduated from the Department of Sculpture at Mimar Sinan University, and then between 1991 and 1995 as a Research Assistant in the Department of Sculpture at the Anatolia University School of Fine Arts, where he received his MA degree in Sculpture in 1994. He worked as a teaching assistant in the Department of Sculpture in the Istanbul Museum of Painting and Sculpture Museum at Mimar Sinan University between 1996 and 1999. At present he is a lecturer in The School of fine Arts at Kocaeli University and continues his artistic activities in his own studio in Istanbul.


The structure of the nature or the nature of the structure. You can grasp both in Gökhan’s sculptures. The exact meaning of the description of the main principle of structure, namely “the order of separate fractions of an object” or “the arrangement of a whole with independent elements associated with an other scheme” have been skillfully interpreted in Gökhan’s sculptures. However, the most striking thing is hidden at the interpretation of the material. The paper (cellulose) that takes its source from the nature, is shaped a new on Gökhan’s hands as if discovers once more its structural assembly within natural life. A fine, delicate material transforms itself, gets articulated and finds its form integrity; obtains endurance and at the same time makes us feel the power and the resistance in a perceptional approach. Briefly, the material turns back to its essence. Exactly at this point, the nature comes out before our eyes. A magnificent integrity that consists of fragile components. Just like the elements of human body. Just like the bones and the muscle tissue that have no resistance when left alone. When they are combined within a definite pattern, the human being, that is to say, the monarch of nature shows up. Now, this mounting is readily perceivable within the abstracted composition of Gökhan’s sculptures. When gazing at these works that are among the most flourishing of contemporary interpretations from a structural standpoint, you can make an intellectual journey through the history of structure from the multi-facets of  Da Vinci to the regular multi-facets of Plato, from the polyhedrons of Archimedes to Fibonacci Sequence. In short, I think that these works are transcending the present time and that they are passing on the essence of the past into the future. Tevfik İLTER  , Chief Architect

The thing we identify as art stands on the other extreme precisely when compared to the language that we carry out for the commonplace communication of everyday. Art is a language incredibly infinite just like the universe; distinct languages letting us feel that an individual cannot help remain individual and recalls our loneliness to great extent. Maybe, a language of non-communication. The words are things that we have been instructed only later. They are imposed as an obligation to assign a meaning and an obligation to categorize. The colors and objects that we come across the moment we open up our eyes into the world; and the area they are filling the space, the aspect of dimensions and their magnitude the moment we happen to touch them... Although the sculpture is letting us confront an historical development full up with shapely descriptions ever since the day it came into being; today we came across a point where barely space and time prevail. In fact, lots and lots of time. The fact that appearances are not real and also that what directs and shapes us are those things behind the visible. And the fact that art is letting those things behind the visible turn discernible... This exhibition is an attempt to bring together a period of my life, an endeavor to unite its parts that have been scattered all around. Realizing the snapshots of various moments, choosing them, designating them and finally visualizing. A kind of montage. At the same time, it is a technical investigation. The coincidences that I never made an attempt to hold back and a material that I also came across through certain coincidences. Paper. A history that extends from cave walls to rocs, from clay tablets to papyrus... And now, a sculpture. Making it a three-dimensional art object, an art material; overcoming the technical problems it poses and domesticating it. At the same time, bringing away its usual perishable nature and turning it into a sort of stability. Living the enthusiasm wondering what might its limitations and dreaming about it. And occasionally, letting you get domesticated by it. An agreement...

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