Dr. Tayfun Belgin

Kunstverein Lippstadt 1997

Colour direction, colour movement and colour symbolism form a cycle, a context in Zeki Arslan's oeuvre.

In the nineties of last century, the artist was concerned with chaos theory, which opend up new possibilities of visual thinking for him. This was for him not a matter of translating certain scientific information but rather of analogous thinking in images.

One of the basic insights of chaos theory can perhaps be formulated rather simply as the idea that chaos attracts its opposite or holds its opposite within it. In every chaotic system there is, therefore, an ordered structure. If this is transferred to Zeki Arslans pictures, it would mean that we need to distinguish between the forms that attract each other and those that reject each other. It is a matter of perceiving micro-structures and macro-structures as we look.

As far as micro-structures are concerned, it can be said that they form an all-over through the principle of colour refraction, just as the meshes of a net are to be found everywhere in a picture. At almost every point the colour forms are cut, twisted and streched.

Zeki Arslan's art moves on a continuum between two worlds: eastern and western. It is not simply due to chance that certain colours are a part of his image repertoire. Red, blue, yellow and white refer to certain compass directions, according to old Turkish believes. They are parts of a cosmic association, which gains a specific clarity in Zeki Arslan's world of abstract images. In these pictures we meet a contemporary and artistic East-West dialogue.

Tayfun Belgin

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