"WHITE PAINTINGS" OF A YOUNG PAINTER
Painting series where white dominates reminds a kind of "tabula rasa" reality documenting that a young painter is ready to new influences and openings. Although visual memory is ready to register images as soon as human opens his eye to world, the memory of the artist is more sensitive in selecting what he prefers among these images without doubt; that's why he eliminates some of these images, he transforms some of them, he shapes from scratch, he makes them to conform his world perspective becoming competent within time. Although the memory is ready to accept every kind of new information and impression, artistic factors that the young artist faces during the influence process are always ready to be eliminated in conformance with his arranging consciousness. The ones which are seen and which can be seen will be different in this context without doubt.
While Seydi Murat Koç who was considered successful at "Young Painter of the Year Competition 2005" being organized by Tevfik İhtiyar Art Gallery, faces the spectator with his several paintings after this success of him, he puts in circuit his own criteria about his personal view and interpretation, he exhibits a sensibility which is unexpected at his age. This foresight refers to the reality of that the art is face to face with a "facing" fact at regarding human and environment before all especially in our day. In some sense, when considered as the courage of the artist's questioning himself, it can be said that such a foresight will influence positively the personal vision of the artist in the process of works towards future. His decisiveness in applying a multidimensional discipline of work extending from photo-collage to serigraphy, from oil painting to acrylic, moreover his altogether perception of the living one in city and of urban reality as concepts being converted into each other; document that he looks for relations supporting each other and integrating with each other, between form and content. His porous figure designs that he forms with serigraphy exhibit a vertical position upon textural background of white painting at most of the places, the city image takes place with a naturalist drawing and painting technique in a way opposing to this symbolic structuring. In interpretational context, while this opposition is balanced with painting effects being worked at the texture of the painting, the message highlighting human image contributes a surrounding value to the composition. The harmonic brush wanderings originating from the application of painting with a free technique undertake meanwhile a function level sticking out at shaping of vast surfaces.
His benefiting from professors with different inclinations during his art education is reflected to Murat Koç's paintings at different savors, but this situation doesn't allocate place for a formation at "eclectic" level. On the contrary the unification of color and formal elements around a function emphasizing the integrity by being convened strengthens the mostly big dimensioned compositions of Murat Koç; provides persuasiveness.
Sticking out as "Young Painter of the Year" loads also an important and inevitable responsibility to Seydi Murat Koç: Other prizes that he earned at few last years and the progress that he achieved by participating to mixed exhibitions rather, his image which will cover place in the memory of the spectator at this personal exhibition of him and afterwards, should always be in direction of carrying to further points and should be open to ways of going beyond himself as the widespread expression. This in turn, depends on keeping alive his relation of going beyond, between what he has done and will do. The mentioned relation is hidden in the content of dependencies without doubt, however his expression of himself is related with procedural formation of what will be obtained rather than what is obtained.