Turkish Artist Volkan Diyaroglu - artmarketblog.com You may have read one of my previous posts praising the work of Turkish born artist Volkan Diyaroglu who has recently been included in the Saatchi Gallery top ten for the third time
any different than, for example, a cup o an apple? I think that what weíre left with is that they simply exist. Personally, I think that before looking at any technical questions, we should look at the context. The truth is that never has it been as difficult to be a painter in a society that moves along to the rhythm of whatís in fashion, like postmodern cannibals, and then run quickly to another objective, thereby creating a disorderly circulation of our own individual selves that is very dangerous, seemingly ordered but subordinate to power and the system.
Nonetheless, I think that never has painting, as we ourselves are, been so interesting, immersed in increasingly complex societies. Bit by bit, the new technologies are distancing humans from their own physical being, converting them into an object of consumption. I like and hate painting for the slow rhythm and its relationship with my physical body. Iím more interested in the time I spend while I paint than the finished work ready to be consumed by the spectator, although the finished result also interests me, but to a lesser degree. But who is to say that painting isnít another new technology? Every day, I invent a new technology in my painting though I donít tell anyone about it; itís a secret surprise for myself and for those, who like me, donít fit into this world. My paintings are there, as I said, like a table that is now before me, quiet and silent, and in the end I think that painting simply has the role of painting, just as we play the role of ourselves at the same time.
T.C. You speak of the relation of painting with the physical. What is more important in your work, the process, the act of painting, or paintings meant to be consumed as objects, or is it possible that you want the element of process to be clearly visible and to become the main element of your work?
V.D. To be honest, Iím not exactly sure which elements is the most important. I think that what I do give importance to is something that I still donít know, and the day I do discover it will be the day I stop painting. Iím interested in the finished work but that is a product of a process. And this process is closer to myself than is the finished work. Finally, the time that I spend on a canvas is my real or imagined time that passes in my life with its real time and real space. This transition to the final work is what really interests me. But thatís something quite different from the finished work that other people see, but which for me doesnít exist. Also, the process of a work, after my direct relationship with the painting is over, continues on by itself, away from me, and in life. If I would want to truly finish a work, I would destroy it in some