While working with oil paints and trying guache, Demir couldnot imagine he would move onto printmaking through linolium technique one day. In fact, it was these experiments with guache that introduced and carried him to the world of printmaking.
First, he tried aquatint technique on zinc plate. It was much later that he settled on linolium technique.
Old Turkish chinas, traditional robes, tombstones, gilding, calligraphy have always interested him. His inquisitiveness in traditional arts coupled with his computing skills brought about abstract paintings.
However, these abstract colour forms accommodate abstract figures in them that would inspire different meanings for everyone.
The implications of his prints of the plant and animal patterns hidden inside the traditional calligraphy and gilding would regain their abstract forms.
Fundamentally, the foregrounded aesthetic values reach the audience together with the dynamic structures in the form of rediscovered shapes loaded with an array of transparent colours.
Here, it is important to emphasize that we observe the base philosophy of expressionism which is the starting point of modern painting. The objective is not the momentary images of daylight. The balanced
forms of warm and cool colours chase eachother and the tones of colour of similar order take their dynamic part in the composition.
Each print he makes foreshadows the birth of the next setting sail to new forms and different compositions.
In the pictures of colour perception, we perceive the abstract and tangible crests that can be considered a by-product. Created by the effort of a unique form of unexpected visual richness, these crests of highlights and geometrical balance make his work extraordinary.
His pictures that can not be tied down to any movement are also pleasing for the viewer. While they are products of linolium printing, they can be perceived as canvas paintings.
Linolium technique is generally considered as works of black and white or of few colours. Demir has developed an unusual fashion in this technique. His technique while emerging from one another does not fall into the trap of repeating itself, while multiplying. His style is so varied and improvised to be apprehensive.
I’m pretty sure that we will see better prints of his individual unique style in the future.
Ergün Başar (2010)
Translated by Feyza Akkirpik