{"id":6703,"date":"2016-10-12T22:03:50","date_gmt":"2016-10-12T19:03:50","guid":{"rendered":"http:\/\/peyamigurel.com\/?p=6703"},"modified":"2024-07-26T13:10:48","modified_gmt":"2024-07-26T10:10:48","slug":"peyami-gurel-ozgecmis","status":"publish","type":"post","link":"https:\/\/peyamigurel.com\/index.php\/peyami-gurel-ozgecmis\/","title":{"rendered":"Peyami G\u00fcrel Hakk\u0131nda"},"content":{"rendered":"\n

Paul Lorenz<\/h4>\n\n\n\n

Peyami G\u00fcrel\u2019in \u00e7al\u0131\u015fmalar\u0131 ile ilk kez 2009\u2019un sonunda Floransa Bienali\u2019nde tan\u0131\u015ft\u0131m. B\u00f6ylesine b\u00fcy\u00fck bir \u00e7a\u011fda\u015f sanat denizinde, zengin atmosferi, ke\u015ffedilen ve ke\u015ffedilemeyen eserleri ile, sanat\u00e7\u0131ya ait a\u011f\u0131rba\u015fl\u0131 ve yo\u011fun bir paletin tuvallerini izler buldum kendimi. Zamans\u0131zl\u0131k ve tarih hissiyat\u0131 ile birlikte zor anla\u015f\u0131lan bir rezonans, ama gelece\u011fi de i\u00e7inde bar\u0131nd\u0131ran semboller\u2026 Serginin kalan s\u00fcresince G\u00fcrel\u2019in \u00e7al\u0131\u015fmalar\u0131n\u0131 tekrar tekrar ziyaret ederek yans\u0131malar ve tefekk\u00fcrlerle dolu anlar ya\u015fad\u0131m. Beni bu g\u00f6rselleri yeniden gelip izlemeye mecbur k\u0131lan \u015fey neydi?<\/p>\n\n\n\n

Amerika Birle\u015fik Devletleri\u2019nde bir \u00f6\u011fretim \u00fcyesi olarak s\u00fcrekli \u2018en son \u015fey\u2019i bulmaya \u00e7al\u0131\u015fan \u00f6\u011frencilerimle m\u00fcnaka\u015fa ediyorum. Bu onlar\u0131n kendilerini d\u00fcnyaya ifade edebilmek ad\u0131na geli\u015ftirdikleri en yeni yol\u2026 \u00d6\u011frencilerin co\u015fkusu \u00e7ok ama yarat\u0131c\u0131 seslerinde \u00e7ok az \u00f6zg\u00fcven var. Onlardaki her\u015fey yeni ama bu yeniliklerin e\u011fitilmesi gerekir. Floransa Bienali gibi b\u00fcy\u00fck organizasyonlarda ise daha az co\u015fku ve bir s\u00fcr\u00fc yarat\u0131c\u0131 ses vard\u0131r. Dinginli\u011fin ve netli\u011fin eksikli\u011fi hissedilir ve arzulan\u0131r. \u0130\u015fte G\u00fcrel\u2019in resimleri ile o esnada tan\u0131\u015fmak benim i\u00e7in bir vahiydi. Azimli, kendine g\u00fcvenen, gayesi ve gizemi olan resimlerin \u00f6n\u00fcnde durmak ho\u015f gelmi\u015fti. Safa gelmi\u015fti.<\/p>\n\n\n\n

Analiz, azim ve anlay\u0131\u015f\u2026Bunlar G\u00fcrel\u2019in resimlerindeki \u2018en son \u015feyler\u2019. Onun analizi, \u00f6yle bir idead\u0131r ki son derece net ve anla\u015f\u0131l\u0131r olmas\u0131n\u0131n yan\u0131 s\u0131ra yeni ve taze 21. y\u00fczy\u0131l izd\u00fc\u015f\u00fcmlerini de i\u00e7erir.G\u00fcrel\u2019in analizleri ge\u00e7ici ve \u015fans eseri ortaya \u00e7\u0131kan analizler de\u011fildir. \u00c7al\u0131\u015fmalar\u0131ndaki analizler y\u0131llar\u0131n getirdi\u011fi d\u00fc\u015f\u00fcnce ve ara\u015ft\u0131rmalar\u0131n, bulundu\u011fu co\u011frafya ve k\u00fclt\u00fcr \u00fczerinde senelerdir s\u00fcre gelen tefekk\u00fcr\u00fcn, y\u0131llard\u0131r geli\u015ftirdi\u011fi tekni\u011fin ayr\u0131ca bunlar\u0131n birbiriyle nas\u0131l etkile\u015fti\u011fini ke\u015ffetmesinin ve elbette kendi ba\u011f\u0131ms\u0131z fikirlerinin bir sonucudur.<\/p>\n\n\n\n

T\u00fcrkiye\u2019yi ziyaret etmek gibi b\u00fcy\u00fck bir \u015fansa sahip biri olarak diyece\u011fim; T\u00fcrkiye, engin tarihi ile ba\u015fka hi\u00e7bir yerde deneyimlemedi\u011fim gizemi olan bir \u00fclkedir. G\u00fcrel\u2019in resimlerinin bir y\u00f6n\u00fc de benim zihnimde aniden bu y\u00f6n ve k\u00fclt\u00fcr hissiyat\u0131n\u0131 uyand\u0131r\u0131yor olmas\u0131d\u0131r. U\u00e7suz bucaks\u0131z mistik mekanlar, kaligrafisindeki g\u00f6rsel \u015fiirsellik, kulland\u0131\u011f\u0131 renkler ve tonlar, b\u00fct\u00fcn bunlar\u0131n arkas\u0131nda bulundu\u011fu co\u011frafya ve sanat\u0131 ile ilgili derin bir hissiyata sahip birinin varl\u0131\u011f\u0131n\u0131 g\u00f6sterir bize. G\u00fcrel sanat, zanaat(ebru) ve dil(kaligrafi) gibi \u00fc\u00e7 farkl\u0131 anlat\u0131m\u0131 bir araya getirerek b\u00fct\u00fcn izleyicileri bildikleri d\u00fcnyadan daha farkl\u0131 bir maceraya ve seviyeye \u00e7eker.<\/p>\n\n\n\n

Ebru yaparken G\u00fcrel, dalgal\u0131 tekst\u00fcrler veya spesifik olarak \u00e7al\u0131\u015f\u0131lm\u0131\u015f kompozisyonlar yarat\u0131r. Tesad\u00fcfi g\u00f6r\u00fcnen \u015fey, denge ve drama i\u00e7in keskin bir g\u00f6z taraf\u0131ndan yerle\u015ftirilmi\u015f birtak\u0131m i\u015faretler serisidir. Renkler birbirleri ile ve birbirlerine kar\u015f\u0131 oynas\u0131nlar diye \u00f6zellikle se\u00e7ilmi\u015ftir. Bu da sakin ama ayn\u0131 zamanda yarat\u0131c\u0131 bir gerilim yaratmaktad\u0131r. Gerilim an\u0131nda bile, sanat\u00e7\u0131n\u0131n elinin ustal\u0131\u011f\u0131 her zaman mevcuttur ve ortadad\u0131r. Renklerin hassas dizini bizlere manzaralar, r\u00fcyalar ve rakslar sunar\u2026b\u00fct\u00fcn izleyicilere a\u00e7\u0131k bir davetiyedir bu.<\/p>\n\n\n\n

Ebru tekni\u011fi olmaks\u0131z\u0131n G\u00fcrel\u2019in kompozisyonlar\u0131 u\u00e7suz bucaks\u0131z manzaralard\u0131r. Bazen d\u00fcnyevi, di\u011fer zamanlar ba\u015fka alemlerden\u2026 G\u00fcrel taraf\u0131ndan ruhlanan \u00e7\u00f6ller, kara delikler, g\u00f6rd\u00fc\u011f\u00fcm\u00fcz ve g\u00f6rmeyi diledi\u011fimiz yerlerdir. \u0130zleyicinin insan\u0131 hayran b\u0131rakan g\u00f6rsel alemler arac\u0131l\u0131\u011f\u0131 ile zihni bu deneyimleri hayata ta\u015f\u0131r. Fiziksel olarak geni\u015f bir \u00f6l\u00e7e\u011fe sahip olmaks\u0131z\u0131n, manzaralar u\u00e7suz bucaks\u0131z derinlikte ve bulunduklar\u0131 d\u00fczlem i\u00e7erisinde son derece dengelidir. Frans\u0131z Ressam Yves Tanguy\u2019\u0131n resimlerinde oldu\u011fu gibi G\u00fcrel\u2019in resimleri de r\u00fcya gibidir. Fakat Tanguy\u2019dan farkl\u0131 olarak bu alemler G\u00fcrel\u2019in spesifik ve soyut anlamda tarih ve k\u00fclt\u00fcr birikimini ihtiva eder. \u0130zleyiciyi saf bir soyutlama ile kar\u015f\u0131 kar\u015f\u0131ya b\u0131rakma ya da antik bir k\u00fclt\u00fcr\u00fcn soyutlanm\u0131\u015f g\u00f6r\u00fcnt\u00fcs\u00fc ile ba\u015fba\u015fa b\u0131rakma. \u0130\u015fte bu G\u00fcrel\u2019in tercihidir.<\/p>\n\n\n\n

Dil, g\u00f6rsel sanatlar \u00fczerinde uygulanagelen en kompleks fikirlerden bir tanesidir. Benim g\u00f6z\u00fcmde ve bat\u0131n\u0131n g\u00f6z\u00fcnde T\u00fcrkiye ve \u0130ran gibi antik medeniyetlere ait metinlerin, s\u00f6yledikleri \u015feyin yan\u0131nda kendilerine has ayr\u0131 bir g\u00f6rsel \u015fiirselli\u011fi ve g\u00fczelli\u011fi var. Metinleri bu g\u00f6r\u00fcnt\u00fcler \u00fczerine ayr\u0131ca ebru tekni\u011fi ile uygulamak resme yeni bir boyut ve k\u00fclt\u00fcrel \u00f6zg\u00fcnl\u00fck ekliyor. Bu kombinasyonlar g\u00f6z\u00fc dolduruyor, zihni test ediyor ve her izleyiciyi sanat\u0131n anlam\u0131n\u0131 ve tarihin \u00f6nemini sorgulamaya \u00e7a\u011f\u0131r\u0131yor.<\/p>\n\n\n\n

G\u00fcrel yaln\u0131zca bir sanat\u00e7\u0131 de\u011fil ayn\u0131 zamanda bir el\u00e7idir. Hayat\u0131n\u0131 ve k\u00fclt\u00fcr\u00fcn\u00fc bizim \u00f6n\u00fcm\u00fcze koyar ve bizi hayal edebilece\u011fimizden daha derinlerde olan mistik bir ser\u00fcvene do\u011fru \u00e7eker. Bizi kendisine ait zamans\u0131z g\u00f6r\u00fcn\u00fcmleri izlemeye ve kendi d\u00fc\u015f\u00fcnce ve felsefesine ucundan da olsa yakalayaca\u011f\u0131m\u0131z \u00e7\u0131kar\u0131mlar yapmaya olanak sa\u011flar. G\u00f6rsel sanatlar g\u00f6zlerimiz i\u00e7indir. Ancak Peyami G\u00fcrel zihinlerimize ve kalplerimize dokunur. Bize r\u00fcyalar g\u00f6rebilmemiz i\u00e7in kap\u0131lar a\u00e7ar.<\/p>\n\n\n\n

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\"\"<\/figure>\n<\/div>\n\n\n

\u00d6zge\u00e7mi\u015f<\/strong><\/p>\n\n\n\n

1959 y\u0131l\u0131nda \u0130stanbul’da do\u011fdu. \u0130ktisat e\u011fitiminin ard\u0131ndan yurtd\u0131\u015f\u0131nda de\u011fi\u015fik \u00fcniversitelerde sanat ve felsefe \u00fczerine ara\u015ft\u0131rmalar yapt\u0131. Yeti\u015fkinlik \u00e7a\u011flar\u0131ndan itibaren sanat tarihine, felsefeye ve toplumsal bilimlere yo\u011fun bir ilgisi oldu.<\/p>\n\n\n\n

1988 y\u0131l\u0131nda ba\u015flayan at\u00f6lye ve galeri ser\u00fcveni 1993 y\u0131l\u0131nda kapsaml\u0131 bir yap\u0131ya kavu\u015ftu ve e\u011fitim programlar\u0131, sergiler ve proje organizasyonlar\u0131 d\u00fczenleyen bir merkez haline geldi. Bu merkezin y\u00f6neticili\u011fini yapan sanat\u00e7\u0131, resim sanat\u0131n\u0131n yan\u0131 s\u0131ra geleneksel sanatlar\u0131m\u0131z\u0131n de\u011fi\u015fik dallar\u0131 ile yak\u0131ndan ilgilendi. 1996-97 d\u00f6neminde klasik sanatlar\u0131n topluma sevdirilmesi amac\u0131yla canl\u0131 olarak yay\u0131nlanan haftal\u0131k bir TV program\u0131 haz\u0131rlay\u0131p sundu. Multimedya ve grafik tasar\u0131m alan\u0131nda se\u00e7kin yap\u0131mlarda da imzas\u0131 bulunan sanat\u00e7\u0131n\u0131n yurt i\u00e7inde ve yurt d\u0131\u015f\u0131nda bir\u00e7ok koleksiyonda eserleri bulunmaktad\u0131r. \u00d6zel ve resmi kurumlarda sanat dan\u0131\u015fmanl\u0131\u011f\u0131 yapm\u0131\u015f olan sanat\u00e7\u0131 halen atelyesinde \u00e7al\u0131\u015fmalar\u0131n\u0131 s\u00fcrd\u00fcrmekte ve kurdu\u011fu merkezin y\u00f6neticili\u011fini y\u00fcr\u00fctmektedir.<\/p>\n\n\n\n

Peyami G\u00fcrel resim \u00e7al\u0131\u015fmalar\u0131n\u0131n yan\u0131 s\u0131ra, geleneksel sanatlar\u0131m\u0131zdan ebru, hat, minyat\u00fcr, tezhip gibi dallarda ara\u015ft\u0131rmalar yaparak bu alanlarda \u00fcr\u00fcnler vermi\u015f bir sanat\u00e7\u0131d\u0131r. \u00dczerinde \u00e7al\u0131\u015ft\u0131\u011f\u0131 dallarda \u00f6\u011frenci yeti\u015ftirmeye \u00f6zel bir \u00f6nem vermektedir. Sanat kariyeri boyunca seyrek olarak ki\u015fisel sergi d\u00fczenlemeyi kendisine ilke edinmi\u015f ve ayn\u0131 \u015fekilde az say\u0131da karma sergiye kat\u0131lm\u0131\u015ft\u0131r.<\/p>\n\n\n\n

Sanat ifadesi daha \u00e7ok ontolojik, varolu\u015fsal boyutlarla ili\u015fkilidir. Kadim geleneklerden beslenmeyi \u00e7ok \u00f6nemseyen sanat\u00e7\u0131n\u0131n ifadesi daha \u00e7ok ontolojik, varolu\u015fsal boyutlarla ili\u015fkilidir. Halen \u0130stanbul Maltepe’deki at\u00f6lyesinde \u00e7al\u0131\u015fmalar\u0131n\u0131 s\u00fcrd\u00fcrmektedir.<\/p>\n\n\n\n

Sanat\u00e7\u0131n\u0131n Ger\u00e7ekle\u015ftirmi\u015f Oldu\u011fu Ki\u015fisel Sergiler<\/h3>\n\n\n\n

1994 Prizren, Yugoslavya
1996 Taksim Sanat Galerisi, \u0130stanbul
1997 Devlet G\u00fczel Sanatlar Galerisi, Bursa
2000 Cemal Re\u015fit Rey Sergi Salonu, \u0130stanbul
2003 GaleriArtist Sergi Salonlar\u0131, \u0130stanbul
2008 Cemal Re\u015fit Rey Sergi Salonu, \u0130stanbul
2009 Floransa Bienali (\u0130talya)
2010 Ma\u00e7kamodern, \u0130stanbul
2013 T\u00fcrk Evi Sergi Salonu, New York
2015 Nishart Sanat Galerisi, \u0130stanbul<\/p>\n","protected":false},"excerpt":{"rendered":"

Paul Lorenz Peyami G\u00fcrel\u2019in \u00e7al\u0131\u015fmalar\u0131 ile ilk kez 2009\u2019un sonunda Floransa Bienali\u2019nde tan\u0131\u015ft\u0131m. B\u00f6ylesine b\u00fcy\u00fck bir \u00e7a\u011fda\u015f sanat denizinde, zengin atmosferi, ke\u015ffedilen ve ke\u015ffedilemeyen eserleri ile, sanat\u00e7\u0131ya ait a\u011f\u0131rba\u015fl\u0131 ve yo\u011fun bir paletin tuvallerini izler buldum kendimi. Zamans\u0131zl\u0131k ve tarih hissiyat\u0131 ile birlikte zor anla\u015f\u0131lan bir rezonans, ama gelece\u011fi de i\u00e7inde bar\u0131nd\u0131ran semboller\u2026 Serginin kalan… Daha fazlas\u0131n\u0131 oku »Peyami G\u00fcrel Hakk\u0131nda<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":11516,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"neve_meta_sidebar":"","neve_meta_container":"","neve_meta_enable_content_width":"","neve_meta_content_width":0,"neve_meta_title_alignment":"","neve_meta_author_avatar":"","neve_post_elements_order":"","neve_meta_disable_header":"","neve_meta_disable_footer":"","neve_meta_disable_title":"","footnotes":""},"categories":[493],"tags":[],"class_list":["post-6703","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-oezgecmis"],"yoast_head":"\nPeyami G\u00fcrel Hakk\u0131nda - Paul Lorenz<\/title>\n<meta name=\"description\" content=\"Peyami G\u00fcrel Hakk\u0131nda. 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