Sevgili (2004) Painting by Hakan Yöney

By adopting an expressionist perspective in my paintings, I try to transform what I see not as it is, but in my own intellectual world and transfer it to canvases in accordance with my philosophy of life. From this point of view, my work naturally differed over time. The inspiration for my work comes from a wide range of fields. I take advantage of the people, events and feelings I encounter in daily life as well as the cult works that are transferred from the past to the present. Besides, I work on the unique subjects that my imagination offers me, without breaking away from reality.When I set out with the idea that all living and inanimate beings in the life weave, although they seem to be uninterred, are actually intertwined at any moment; I think that all beings in nature affect each other, whether they are aware of it or not, spiritually or physically.Everything that exists in the world consists of moments and lines that intertwine in my mind. It wouldn't be an exaggeration to say that all the memories and information in my mind turned into my works with the deformation of all the beings I encountered throughout my life.In my work, I changed my perspective as soon as I realized that we could actually perceive a lot of things when I thought we were focusing on something in space. For me, it's no matter if the figures and objects are in the front, back or anywhere. Therefore, the lines began to take part in my studies, away from the anxiety of the beginning or end, the place in the picture, the direction.

Just as our lines in life intersect without calculating in a strange way, in my work, an existing line can intersect with a line farther away, or vice versa.

I don't worry about beauty and ugliness in my figures, but naturally the reflections of truth in my perception go into my work. I don't want to convey subjects through the sense of male or female, but through the universal sense of human beings. My color choice in my work is based on the subject, thought and emotion I cover; sometimes I prefer to use colors with universal meanings and sometimes with my personal meanings. I make the deformations in my figures according to my philosophical thoughts and emotional structure at the time. Naturally, my pictures differ over the years in the direction of the course of my intellectual world.

Expressions, looks and body parts are important as a narrative tool in my pictures. The size of the hands and feet and their resemblance to claws are not actually a violent point of view, but rather a sign of our struggle against life and our efforts to hold on to the world. My desire to capture expressions is not to achieve this throughout the face as a whole. My efforts to tell everything at a glance are actually built on the idea that very rare people can see life with both eyes. This has caused me to place my figures in one eye.

• Nationality: TÜRKIYE
• Date of birth : unknown date
• Artistic domains: Works by professional artists,
• Groups: Professional Artist Contemporary Turkish Artists