Reyhan’s original and experimental printmaking work speaks symbolically and embraces her audience in an interaction between textures, stains, and colors. In observing her work, one might experience an expression that disappears or starts to appear on the surface through the tache expressionism of fictitious approaches. Rather than transmitting the formable message directly to the audience, she creates a bond between the audience and her works during the emergence of the interpretations, leaving an open door for the audience.
Concepts like “motion” and “continuity”, “repetition” or “loneliness” each hold an expression. Though they cannot be perceived clearly, they suggest the presence of figures on the surface through their formal structures. These concepts become a whole with the surface, coinciding with a new sub-heading.The framework of the subheading can be addressed as a ritual approach through a mystical display. The dynamism of the figures on the surface of the painting is carried to a totally different dimension. These alternating stops and motions are transformed and can be interpreted as a ritualistic dance within color and form. Read more...
Dancing figures are presented through a new composition by sustaining their dynamism and rhythm on the work’s surface through a plastic expression. These figures exist in the void and on certain planes. They establish integrity between the image and surface individually, or in some cases intertwined with each other through various levels of engagement.
The relation between emphasis and integrity based on observance in the world of plastic forms and the life practices of the artist has emerged as a result of the deep-rooted connection between the artist and the work. It is a reflection of the artist and her gymnastic and dancing background.
Thanks to the techniques used in this process of creation, the interactions of the plastic elements used by the artist, also reinforce the expression with the atmosphere. The fictional figures in the world creation arising from the personality of the artist, suggest a new atmosphere that exists in another space far away from gravity. The relation between the materials used and elements strengthens the expression in the painting thanks to the infinite combinations they create.
When the figure’s body language and motion are analyzed, concepts like “enthusiasm”, “speed”, dynamism”, withdrawal” and “rhythm” are reflected through the motions of the visual body. Figures are transformed into an entity through the depths of the utopic, allegorical stories that do not have planes, borders, limits, or light. They are uncertain and exist floating in space, just like their shadows.
Of all the concepts explored, surface and depth are the most significantly eye-catching. The vague definition of surface within creates a spatial dimension in parallel to the stain effect. The layered textures create a strong plastic touch in combination with the unidentifiable traces left. This relationship between the materials used and elements strengthens the expression in the painting thanks to the infinite combinations they create.
In terms of technicality, these works are created instantly by using the mono-printing method, associating them with the concepts of “speed” and “moment”. This technique also breaks up the stylization of the figures and removes the graphical expression to create an experiment of plastic, both in expression and application.
Reyhan’s monotype prints utilize more vivid color in comparison to the engravings. The artist, who makes creations with this technique in addition to engraving, notes that it creates the appearance of new textures and forms that exhibit spatial reflections on the painting surface. From this perspective, the artist chooses the printing techniques as the most accurate technique for the application of the concepts, styles, and forms.
Her printmaking is a creation of sensitivity and intrinsicness, transformed into reflections of knowledge, experiences, and practices in life. These productions locate the human as the focal point of the new plastic production, and the artist’s intervention shapes it around concepts including “moment”, “time”, “motion”, “dynamism”, “speed” and “stagnancy”.