Statement:

Lines, design, archaic, art, fragmentation, aesthetics, expression, form, color, paper, book, line, surface, idea, thought, feeling, contradictions, play, humor, non-art, zero, not reaching an image, failure, habit of failure, habit of seeing failure as power and motivation, image.

Also, images that take shape spontaneously during work. Internal, personal, and private, erratic, without a specific goal or philosophy.///

An action and reaction based on "something unexpected will happen" that will surprise me, will pull me out of daily routines, a feeling of searching, of discovering something that gives meaning in vain.

Going with the flow of lines, something against instability, following existing patterns or emerging patterns during work, being attentive and vigilant.

In contrast to painting, I can start designing without planning, even with a mental void or devoid of any concept. Painting on canvas requires mapping and planning, which takes shape over a long period and within the framework of a specific visual language.

In contrast, design is peripheral, marginal, something from the fluidity of the mind, from awareness to discovery and insight. Images that abandon themselves without reason or purpose.

Designs are fresh and unexpected, often lost in painting. Design sheets that remain covered in notebooks for years and yet burst with freedom, aimlessness, and uncontrolled things; works that will mostly remain unfinished and open.

Sometimes I feel like a stranger has guided the design notebooks. There is no boundary between conscious and unconscious decisions in design. Here, I merge with whatever passes on the surface of the paper.

The methods of starting a design vary. Sometimes a mental image, sometimes based on a photo or paintings from past eras, or the involuntary movement of the pen on the paper, without any preconception.

In such cases, I am mindful of where the lines will lead me and try to remain open to the events on paper. Often, I am surprised to see that after a short while, the lines come to life, a spirit that is always greater than me and yet always smaller than me.

Sometimes I also design with a specific plan and subject in mind. For example, I place a figure from my favorite artists in art history alongside a real figure from our time; an attempt to compress time in form.

Ultimately, it doesn't matter whether I succeed or not, the compression of form based on the intellectual background of these designs gives them a fresh spirit, a saturated space where souls collide and pass by together.

Since my youth, I have had a serious interest in the madness of Hieronymus Bosch's works, something that still occupies my mind and I pursue it in my paintings, a madness that, although manifested in designs playfully, I follow it seriously to grasp the concept of the "connection between art and life."

Over time, the concept of the word "design" has changed for me, and since I rarely find peace and satisfaction in my work, I cannot adhere to a specific style or method.

Although I struggle with each subject for a long time and with intensity, when the initial motivation and energy fade, I embark on something new. The challenge and courage to change are fundamental. With these, I can experiment with my limits, abilities, and potential; more to the conceptual meaning than technical possibilities.

Design has been my constant companion since my student years, and I still get excited and thrilled by it. Design is familiar yet full of ambiguity and strangeness, a good excuse for not reaching, motivation for a new adventure.