Commentary by Kaya Özsezgin


Recently, in the way young artists work on the figure, the figure is approached with the sensory associations that life inspires as a source of inspiration, and the breadth of scope that intensifies the expression directs the artist to new options. In this context, the effort to create perspectives in the face of social and psychological factors predominates. Naturally, the main factor guiding the artist at this stage is to capture unique critical options in the context of the figure and to determine the artist's position around these options through the figure he represents in his art.

After studying art at Halil Akdeniz's workshop at Anadolu University in the early 2000s, Necmi Gürseler, who participated in group exhibitions at home and abroad and worked on improving his figure experience, continued his attempts to clarify his artistic position choice as a member of this generation. The composition style, which is often formed around the dual figure option in his paintings, aims to refer to human reality by highlighting life activity in parallel with physical movement. Works produced around human reality in art have so far been shaped to capture the abstractionist expression versions of this phenomenon that can accompany art, rather than revealing the demonstrative side of the human phenomenon.

In this context, Gürseler also deals with the anatomical structure of the figure in the company of relative change fractions, and develops a kind of figure architecture in his large-scale compositions, which he sometimes colors with scanning lines and sometimes integrates with a visual structure with the support of color paradigms. Although the method he uses in doing this suggests a fantastic fictionality, he actually aims to draw attention to the overlooked or neglected aspects of the reality of life. The fact that he does not distinguish between genders in his figures is a requirement of the figural metaphor he uses. That is why in his figural compositions, the figure bears witness to life. Thus, the meaning hidden behind the figures is indirectly emphasized. In other words, an indirect interpretation of the ideal of freedom is shed light on, which is another indication of the balanced formation of form and content. His moving figures refer to today's people who are trying to get rid of conditioning bonds, but such a post is not only a reference, but also points to the aesthetic pleasure that surrounds the figure, emphasizing that it also has a complementary content in terms of its relationship with decorative components.

The decorative component in question is clearly visible in the fine drawings applied by the artist on paper. These works, which can be interpreted as a search for some kind of textural effect, testify to the artist action that we mostly see in young artists as well as Gürseler. From time to time, these drawing details appear as detail pieces on the body structure of the figures.

It is the partnership of the level of consciousness and skill that creates the work of art, ultimately being able to develop the evolutionary texture. When we look at it this way, the path that Necmi Gürseler has drawn for himself with a questioning approach that he can do in a calm manner, without any hasty initiatives, includes early examples of what he will do in the future.

Kaya Özsezgin