|LM HOME PAGE||ART & ARTIST||LM_STATEMENT||BIOGRAPHIES|
|ENGLISH_CONTENT||ARTICLE & AUTHOR||LM_MANIFESTO||REACTIONS|
|LIGHT MILLENNIUM TV||HISTORY AS TODAY||FUGEN GULERTEKIN||CONTACT|
EVERYTHING SHOULD BE UNDER THE SUN
The Phantasmagoria of Omer ULUC
Robert C. MORGAN
Omer Uluc had shown his art titled; "A, B, Sea Devils" at
the Trans Hudson Gallery from May 15 to June 16, 2001 in New York.
Omer Uluc has a quality of fantasy in his work that is inexorable, even defiant. He knows the secrets of Pandora's Box-- the fantastic creatures of the deep. When we speak of the deep we may refer to the sea-- as in sea creatures, or we may refer to the unconscious lurking behind our motives and actions. Like all visual alchemists who function in the realm of imagistic transfiguration, Uluc ponders the excesses of our time. He ruminates over what is and what is not.
My sense about Uluc is that he knows the present through his unconscious.
His art is a kind of phantasmagoria.
Excess in age brings lethargy; and in a higly abstract, material world where there is an abundance of conflicting elements, the actuality of the situation becomes all the more diffucult to see. By confronting this presumed reality through science, we beckon a rational response to answer the problem and to instill a sense of justification with regard to where we are in our material reality. the other approach is, of course, through art and this is where Omer Uluc finds himself. He struggles to find the necessary precision that will give reality another turn of events, another insight, previously unseen, historically unrealized.
With the lethargy of the material world
-- the excess and abstract abundance -- comes the exhaustion of ideas,
loss of a spiritualized imagination. I see Uluc as pondering the cause
of effect of this situation. He is looking for a problematic withing
the concept of art, while understanding that art is never a single concept,
but plurality, often in conflict with itself. Art is elusive at its
best, yet precise in iths projections of ambiguity. I understand Uluc
as a kind of romantic conceptualist, a distilled fountain of new ideas,
offering new sources by which to map into the imagination.
When I think of his new hybrid between
painting and sculpture -- with plastic hosses and air ducts --with strange
physiognomies -- I can not help but thin of Max WErnst. It was in 1921
that Ernest created his beatiful Elephant Celebes -- one of the hallmarks
of Surrealism. Where did he obtain concept? It is said that he found
an old photograph of an African corn silo that gave his imagination
the necessary spur, the calculated abundance to let loose, to dismantle
all exceptions and contrivances and to move fully into the realm of
the imaged, the spirutal, and delicacies of a subtle intellectual passage
through time and space. Essentially, Ernst was asking these questions:
What is human nowadays? What is sane? Where do we go from here in the
mids of this chaotic industrial world-view?
Uluc's sea creatures ask much the same.
But Uluc takes these questions to another level, gives them a prognosis,
a hypertropic content. They spill forth with agonized glory of simulation
and conjecture. They open the threshold to the unconscious, showing
all the light within themselves. Uluc is a glorious artist in this respect.
He shows his creatures as silly, absurd, conflicted, horrific, and mad.
Yet at the same moment, he places them very much within the presence
of an imagination for others to capture. He desires the imagination
as a spur, as a challenge, to open up and let go with something new,
something vital and intrepid. These thoughtful machination of material
are vestiges of a romantic presence. Past and present merge as does
the Surreal and the Conceptual traces of recent art history. Uluc brings
us into the presence by geting below the level of the obvious, and astonishing
us with something courageously new and paradoxical profound.
Robert C. Morgan is a critic, artist, writer, lecturer, and poet. He is the author Art into Idals: Essays on conceptual Art (Cambridge University Press, 1996) and The End of The Art World (Allworth Press, 1988). His book on Bruce Nauman is being published by John Hopkins Unversity Fress, furtcoming in 2001.
* TURKCE - ISIK BINYILI
BAHAR sayisi web'dedir.