2015

Oil on Canvas

150x200 cm

The artist reimagines personalistic elements in mythologies in an acutely intricate and bright context. A layer of personalistic being doubtless rests on all things because all things are nothing other than person turned inside out. Each thing can have infinitely diverse forms of expressing its personalistic nature while retaining its identity at the same time. Myth, for the artist, is not only a personalistic history in this sense, but also a miraculous personalistic history expressed in graphic forms. The elements he borrows from mythologies represent the configuration of his dreams, his imaginations. By concentrating on allegorical and vitally symbolic layers, these are the elements which construct the artist’s own mythological geometry. Light and darkness combine to generate visible forms; if there were only light or only darkness, no visible form would be possible, for the latter emerges only from the interaction of these opposites. In like manner, the one and the other, or being or non-being, merge in the concept of becoming, as will become clearly presently. The crucial thing about this kind of dialectical synthesis is that, in it, the opposites are not simply assimilated into the new concept without a trace, nor are they discarded altogether, but are at once surmounted and preserved. Or rather, what is surmounted is their rigid isolation from each other and what is preserved is their actual meaning. The artist follows this line of reasoning and adopts contradiction and opposition as prime movers to construct his understanding of myth. This way of thinking makes possible the synthesis of two concepts; those are myth and modernity, and their synthesis generates a new concept. They are both surmounted and preserved. In this concept, the universe of myth and modernity are not rigidly isolated from each other; that would render them meaningless. That is, they are surmounted. And their actual meaning only arises when they are viewed in mutual contrast, thus preserved. This mode of thought also causes the artist to reimagine not only personalistic elements in myths but also the methods of their material execution. So that he is able to enclose energy into his art, which is equally effective in the multiplicity of material executions. The artist makes the viewer aware of the synthesis of the myths and the modernity of his culture, evoking the nature of personalistic elements in mythologies. Myth is not an arbitrary invention or fiction; it is not a fantastic fabrication, but a logically or, above all, dialectically necessary category of consciousness. Myth is a personalistic form, ultimately.

2014

Oil on Canvas

150x150 cm

The artist reimagines personalistic elements in mythologies in an acutely intricate and bright context. A layer of personalistic being doubtless rests on all things because all things are nothing other than person turned inside out. Each thing can have infinitely diverse forms of expressing its personalistic nature while retaining its identity at the same time. Myth, for the artist, is not only a personalistic history in this sense, but also a miraculous personalistic history expressed in graphic forms. The elements he borrows from mythologies represent the configuration of his dreams, his imaginations. By concentrating on allegorical and vitally symbolic layers, these are the elements which construct the artist’s own mythological geometry. Light and darkness combine to generate visible forms; if there were only light or only darkness, no visible form would be possible, for the latter emerges only from the interaction of these opposites. In like manner, the one and the other, or being or non-being, merge in the concept of becoming, as will become clearly presently. The crucial thing about this kind of dialectical synthesis is that, in it, the opposites are not simply assimilated into the new concept without a trace, nor are they discarded altogether, but are at once surmounted and preserved. Or rather, what is surmounted is their rigid isolation from each other and what is preserved is their actual meaning. The artist follows this line of reasoning and adopts contradiction and opposition as prime movers to construct his understanding of myth. This way of thinking makes possible the synthesis of two concepts; those are myth and modernity, and their synthesis generates a new concept. They are both surmounted and preserved. In this concept, the universe of myth and modernity are not rigidly isolated from each other; that would render them meaningless. That is, they are surmounted. And their actual meaning only arises when they are viewed in mutual contrast, thus preserved. This mode of thought also causes the artist to reimagine not only personalistic elements in myths but also the methods of their material execution. So that he is able to enclose energy into his art, which is equally effective in the multiplicity of material executions. The artist makes the viewer aware of the synthesis of the myths and the modernity of his culture, evoking the nature of personalistic elements in mythologies. Myth is not an arbitrary invention or fiction; it is not a fantastic fabrication, but a logically or, above all, dialectically necessary category of consciousness. Myth is a personalistic form, ultimately.

2019

Oil on Canvas

180x240 cm

The artist reimagines personalistic elements in mythologies in an acutely intricate and bright context. A layer of personalistic being doubtless rests on all things because all things are nothing other than person turned inside out. Each thing can have infinitely diverse forms of expressing its personalistic nature while retaining its identity at the same time. Myth, for the artist, is not only a personalistic history in this sense, but also a miraculous personalistic history expressed in graphic forms. The elements he borrows from mythologies represent the configuration of his dreams, his imaginations. By concentrating on allegorical and vitally symbolic layers, these are the elements which construct the artist’s own mythological geometry. Light and darkness combine to generate visible forms; if there were only light or only darkness, no visible form would be possible, for the latter emerges only from the interaction of these opposites. In like manner, the one and the other, or being or non-being, merge in the concept of becoming, as will become clearly presently. The crucial thing about this kind of dialectical synthesis is that, in it, the opposites are not simply assimilated into the new concept without a trace, nor are they discarded altogether, but are at once surmounted and preserved. Or rather, what is surmounted is their rigid isolation from each other and what is preserved is their actual meaning. The artist follows this line of reasoning and adopts contradiction and opposition as prime movers to construct his understanding of myth. This way of thinking makes possible the synthesis of two concepts; those are myth and modernity, and their synthesis generates a new concept. They are both surmounted and preserved. In this concept, the universe of myth and modernity are not rigidly isolated from each other; that would render them meaningless. That is, they are surmounted. And their actual meaning only arises when they are viewed in mutual contrast, thus preserved. This mode of thought also causes the artist to reimagine not only personalistic elements in myths but also the methods of their material execution. So that he is able to enclose energy into his art, which is equally effective in the multiplicity of material executions. The artist makes the viewer aware of the synthesis of the myths and the modernity of his culture, evoking the nature of personalistic elements in mythologies. Myth is not an arbitrary invention or fiction; it is not a fantastic fabrication, but a logically or, above all, dialectically necessary category of consciousness. Myth is a personalistic form, ultimately.

2020

Ceramic

35x40 cm

Güneştekin’s polychrome, sometimes grotesque or surreal ceramic works take the form of fish, urns, human skulls, and horns, and are reminiscent of the story of Dhul Qarnayn and other myths and fables. The series carries the general title Dhul Qarnayn, which is referred to as "he of the two horns" in the Quran. The series carries the general title of Dhul Qarnayn. There are conflicting accounts of who this legendary Yemeni king was (some believe he was Alexander the Great), but in the Quran, he is referred to as "he of the two horns", sanctioned by Allah to build a Wall between mankind and Gog and Magog, man-eating giants from the Turkistan region who embodied chaos. According to most versions of Islam’s description of the Apocalypse, if Gog and Magog breached the wall, it would bring about the end of the world followed by the Resurrection, once God destroyed them. Dhul Qarnayn has many other legends attributed to him, but in Güneştekin’s hands we have the classic guardian king figure empowered to save the world from destruction. He has rendered the idea of him in a series of grotesquely beautiful ceramic urns containing ornate skulls and horns that radiate from and through the walls of the urns, as if he is a Medusa figure.

2019

Ceramic

35x30 cm

Güneştekin’s polychrome, sometimes grotesque or surreal ceramic works take the form of fish, urns, human skulls, and horns, and are reminiscent of the story of Dhul Qarnayn and other myths and fables. The series carries the general title Dhul Qarnayn, which is referred to as "he of the two horns" in the Quran. The series carries the general title of Dhul Qarnayn. There are conflicting accounts of who this legendary Yemeni king was (some believe he was Alexander the Great), but in the Quran, he is referred to as "he of the two horns", sanctioned by Allah to build a Wall between mankind and Gog and Magog, man-eating giants from the Turkistan region who embodied chaos. According to most versions of Islam’s description of the Apocalypse, if Gog and Magog breached the wall, it would bring about the end of the world followed by the Resurrection, once God destroyed them. Dhul Qarnayn has many other legends attributed to him, but in Güneştekin’s hands we have the classic guardian king figure empowered to save the world from destruction. He has rendered the idea of him in a series of grotesquely beautiful ceramic urns containing ornate skulls and horns that radiate from and through the walls of the urns, as if he is a Medusa figure.

2020

Oil on Canvas

190x300 cm

The artist reimagines personalistic elements in mythologies in an acutely intricate and bright context. A layer of personalistic being doubtless rests on all things because all things are nothing other than person turned inside out. Each thing can have infinitely diverse forms of expressing its personalistic nature while retaining its identity at the same time. Myth, for the artist, is not only a personalistic history in this sense, but also a miraculous personalistic history expressed in graphic forms. The elements he borrows from mythologies represent the configuration of his dreams, his imaginations. By concentrating on allegorical and vitally symbolic layers, these are the elements which construct the artist’s own mythological geometry. Light and darkness combine to generate visible forms; if there were only light or only darkness, no visible form would be possible, for the latter emerges only from the interaction of these opposites. In like manner, the one and the other, or being or non-being, merge in the concept of becoming, as will become clearly presently. The crucial thing about this kind of dialectical synthesis is that, in it, the opposites are not simply assimilated into the new concept without a trace, nor are they discarded altogether, but are at once surmounted and preserved. Or rather, what is surmounted is their rigid isolation from each other and what is preserved is their actual meaning. The artist follows this line of reasoning and adopts contradiction and opposition as prime movers to construct his understanding of myth. This way of thinking makes possible the synthesis of two concepts; those are myth and modernity, and their synthesis generates a new concept. They are both surmounted and preserved. In this concept, the universe of myth and modernity are not rigidly isolated from each other; that would render them meaningless. That is, they are surmounted. And their actual meaning only arises when they are viewed in mutual contrast, thus preserved. This mode of thought also causes the artist to reimagine not only personalistic elements in myths but also the methods of their material execution. So that he is able to enclose energy into his art, which is equally effective in the multiplicity of material executions. The artist makes the viewer aware of the synthesis of the myths and the modernity of his culture, evoking the nature of personalistic elements in mythologies. Myth is not an arbitrary invention or fiction; it is not a fantastic fabrication, but a logically or, above all, dialectically necessary category of consciousness. Myth is a personalistic form, ultimately.

2018

Ceramic

25x25x25 cm

Güneştekin’s polychrome, sometimes grotesque or surreal ceramic works take the form of fish, urns, human skulls, and horns, and are reminiscent of the story of Dhul Qarnayn and other myths and fables. The series carries the general title Dhul Qarnayn, which is referred to as "he of the two horns" in the Quran. The series carries the general title of Dhul Qarnayn. There are conflicting accounts of who this legendary Yemeni king was (some believe he was Alexander the Great), but in the Quran, he is referred to as "he of the two horns", sanctioned by Allah to build a Wall between mankind and Gog and Magog, man-eating giants from the Turkistan region who embodied chaos. According to most versions of Islam’s description of the Apocalypse, if Gog and Magog breached the wall, it would bring about the end of the world followed by the Resurrection, once God destroyed them. Dhul Qarnayn has many other legends attributed to him, but in Güneştekin’s hands we have the classic guardian king figure empowered to save the world from destruction. He has rendered the idea of him in a series of grotesquely beautiful ceramic urns containing ornate skulls and horns that radiate from and through the walls of the urns, as if he is a Medusa figure.

2021

Ceramic

23x30 cm

2021

Ceramic

23x30 cm

2021

Ceramic

23x30 cm

2021

Mixed Media

70x122x35 cm

In his text The Light of Myths*, Hans Irrek says “Immersing oneself extensively in Güneştekin's work, we realize that everything is just a beginning, and all stories have to be retold in new and different ways.” This start-all-over construction and expression also presents itself in the works that the artist calls the Gelene-ek (‘addition to that which has come’) Series. The artist plays with the word gelenek (‘tradition’) and makes ‘additions’ to ‘that which comes’, moving his pictorial tradition to another –richer- medium. When his familiar colourful patterns in his painting are now presenting themselves over metamorphosed animals (in this exhibition, on a bull and a fish), Irrek’s reading ceases to be an over-interpretation and becomes one with reality. These metaphoric sculptures of animals are parted with a thick and transparent, double-layered material, which should be explained as partings of the tradition the artist has taken over. These artistic constructions, of which we can find the traces in the mythical cosmos, enchant the spectator. The bull, which is the symbol of power and fruitfulness for Sumerians and Semites, emerges as bull figures over lyres found among the personal belongings of kings in their tombs in Ur. The bull’s horns are also symbols of gods, such as the Semite Sun God El. The bull is an equivalent of gods and heroes in many cultures and is used in a ritual of sacrifice called ‘taurobole’, as in the cult of the Sun God Mithra and that of Kybele, worshipped in Ancient Rome for the promise of personal peace. It is also well-known that the bulls is used as a central figure in Picasso’s paintings. And when it comes to the fish, Güneştekin approaches it in an analogy of memory, adorning its scaled skin and decorating his own motifs over its tail, head, and soft dorsal fin. In its mouth we see a skull (as if the fish had swallowed a human and couldn’t digest him/her, and thus wanted to throw it out), and over it we see a smaller fish. But what about the eyes? Having a woman’s eyes, we should add that the fish has also become a part of the narration through sexuality (for the fish has a wet habitat) and fruitfulness (for it lays eggs).

2021

100x155x35 cm

Mixed Media

2021
Mixed Media
90x163x42 cm

2021
Mixed Media
150 Ø cm

50th Year Of The United Arab Emirates Customized
2021
Mixed Media
150x150x30 cm

2021
Ceramic
25x30 cm

2021
Ceramic
25x30 cm

2021
Ceramic
25x30 cm

2021
Ceramic
25x30 cm

2021

Ceramic

25x30 cm

2021
Ceramic
25x30 cm

2021
Ceramic
25x30 cm

2021
Ceramic
25x30 cm

2021
Ceramic
25x30 cm

2021
Ceramic
25x30 cm

2021
Ceramic
25x30 cm

2021
Ceramic
25x30 cm

2018

Oil on Canvas

100x100 cm

The artist reimagines personalistic elements in mythologies in an acutely intricate and bright context. A layer of personalistic being doubtless rests on all things because all things are nothing other than person turned inside out. Each thing can have infinitely diverse forms of expressing its personalistic nature while retaining its identity at the same time. Myth, for the artist, is not only a personalistic history in this sense, but also a miraculous personalistic history expressed in graphic forms. The elements he borrows from mythologies represent the configuration of his dreams, his imaginations. By concentrating on allegorical and vitally symbolic layers, these are the elements which construct the artist’s own mythological geometry. Light and darkness combine to generate visible forms; if there were only light or only darkness, no visible form would be possible, for the latter emerges only from the interaction of these opposites. In like manner, the one and the other, or being or non-being, merge in the concept of becoming, as will become clearly presently. The crucial thing about this kind of dialectical synthesis is that, in it, the opposites are not simply assimilated into the new concept without a trace, nor are they discarded altogether, but are at once surmounted and preserved. Or rather, what is surmounted is their rigid isolation from each other and what is preserved is their actual meaning. The artist follows this line of reasoning and adopts contradiction and opposition as prime movers to construct his understanding of myth. This way of thinking makes possible the synthesis of two concepts; those are myth and modernity, and their synthesis generates a new concept. They are both surmounted and preserved. In this concept, the universe of myth and modernity are not rigidly isolated from each other; that would render them meaningless. That is, they are surmounted. And their actual meaning only arises when they are viewed in mutual contrast, thus preserved. This mode of thought also causes the artist to reimagine not only personalistic elements in myths but also the methods of their material execution. So that he is able to enclose energy into his art, which is equally effective in the multiplicity of material executions. The artist makes the viewer aware of the synthesis of the myths and the modernity of his culture, evoking the nature of personalistic elements in mythologies. Myth is not an arbitrary invention or fiction; it is not a fantastic fabrication, but a logically or, above all, dialectically necessary category of consciousness. Myth is a personalistic form, ultimately.

2021

Oil on Canvas

100x100 cm

The artist reimagines personalistic elements in mythologies in an acutely intricate and bright context. A layer of personalistic being doubtless rests on all things because all things are nothing other than person turned inside out. Each thing can have infinitely diverse forms of expressing its personalistic nature while retaining its identity at the same time. Myth, for the artist, is not only a personalistic history in this sense, but also a miraculous personalistic history expressed in graphic forms. The elements he borrows from mythologies represent the configuration of his dreams, his imaginations. By concentrating on allegorical and vitally symbolic layers, these are the elements which construct the artist’s own mythological geometry. Light and darkness combine to generate visible forms; if there were only light or only darkness, no visible form would be possible, for the latter emerges only from the interaction of these opposites. In like manner, the one and the other, or being or non-being, merge in the concept of becoming, as will become clearly presently. The crucial thing about this kind of dialectical synthesis is that, in it, the opposites are not simply assimilated into the new concept without a trace, nor are they discarded altogether, but are at once surmounted and preserved. Or rather, what is surmounted is their rigid isolation from each other and what is preserved is their actual meaning. The artist follows this line of reasoning and adopts contradiction and opposition as prime movers to construct his understanding of myth. This way of thinking makes possible the synthesis of two concepts; those are myth and modernity, and their synthesis generates a new concept. They are both surmounted and preserved. In this concept, the universe of myth and modernity are not rigidly isolated from each other; that would render them meaningless. That is, they are surmounted. And their actual meaning only arises when they are viewed in mutual contrast, thus preserved. This mode of thought also causes the artist to reimagine not only personalistic elements in myths but also the methods of their material execution. So that he is able to enclose energy into his art, which is equally effective in the multiplicity of material executions. The artist makes the viewer aware of the synthesis of the myths and the modernity of his culture, evoking the nature of personalistic elements in mythologies. Myth is not an arbitrary invention or fiction; it is not a fantastic fabrication, but a logically or, above all, dialectically necessary category of consciousness. Myth is a personalistic form, ultimately.

2017

Mixed Media

125x125x20 cm

Circular materials are employed in this red heart-shaped work. Objects mirror their environment, but they also include the person gazing at the object as a result of reflection. The spherical metallic mirror sits in the centre. The symbols on the rings, which are placed around the centre where the light is refracted, represent the letters of the phrase "I love you" in many languages in red. On the planes where the letters are put, iconic heart figures are also employed as well. Employing these strategies in this work, the artist incorporates language into the imagery. He produces a stencilled, moulded, and sculpted alphabet, and he designed a graphic that stacks all of the letters of the phrase "I love you" in different languages side by side. The person who looks at this mirror can see oneself in it. It is an encounter in which we recognize ourselves in the person we love. Its conventional and symbolic meaning is clear to all, who poses in front of the words "I love you", a group of friends, a romantic couple, and a man with his bike. Each time a photograph is taken, the rules of use and the properties of the speech event turn the work into someone else's love — love among a group of friends, love of a romantic couple, and love of a man for his bike. Love, the artist believes, gives us our humanity as well as our mysticism. There is more to us than meets the eye. And history is brutally self-important without it. These lexical and reflective qualities of the work describe the artist’s own mythological and redemptive view of love.

2020

Ceramic

30x25 cm

Güneştekin’s polychrome, sometimes grotesque or surreal ceramic works take the form of fish, urns, human skulls, and horns, and are reminiscent of the story of Dhul Qarnayn and other myths and fables. The series carries the general title Dhul Qarnayn, which is referred to as "he of the two horns" in the Quran. The series carries the general title of Dhul Qarnayn. There are conflicting accounts of who this legendary Yemeni king was (some believe he was Alexander the Great), but in the Quran, he is referred to as "he of the two horns", sanctioned by Allah to build a Wall between mankind and Gog and Magog, man-eating giants from the Turkistan region who embodied chaos. According to most versions of Islam’s description of the Apocalypse, if Gog and Magog breached the wall, it would bring about the end of the world followed by the Resurrection, once God destroyed them. Dhul Qarnayn has many other legends attributed to him, but in Güneştekin’s hands we have the classic guardian king figure empowered to save the world from destruction. He has rendered the idea of him in a series of grotesquely beautiful ceramic urns containing ornate skulls and horns that radiate from and through the walls of the urns, as if he is a Medusa figure.

2020

Ceramic

35x35 cm

Güneştekin’s polychrome, sometimes grotesque or surreal ceramic works take the form of fish, urns, human skulls, and horns, and are reminiscent of the story of Dhul Qarnayn and other myths and fables. The series carries the general title Dhul Qarnayn, which is referred to as "he of the two horns" in the Quran. The series carries the general title of Dhul Qarnayn. There are conflicting accounts of who this legendary Yemeni king was (some believe he was Alexander the Great), but in the Quran, he is referred to as "he of the two horns", sanctioned by Allah to build a Wall between mankind and Gog and Magog, man-eating giants from the Turkistan region who embodied chaos. According to most versions of Islam’s description of the Apocalypse, if Gog and Magog breached the wall, it would bring about the end of the world followed by the Resurrection, once God destroyed them. Dhul Qarnayn has many other legends attributed to him, but in Güneştekin’s hands we have the classic guardian king figure empowered to save the world from destruction. He has rendered the idea of him in a series of grotesquely beautiful ceramic urns containing ornate skulls and horns that radiate from and through the walls of the urns, as if he is a Medusa figure.

2021

Mixed Media

75x120x40 cm

In his text The Light of Myths*, Hans Irrek says “Immersing oneself extensively in Güneştekin's work, we realize that everything is just a beginning, and all stories have to be retold in new and different ways.” This start-all-over construction and expression also presents itself in the works that the artist calls the Gelene-ek (‘addition to that which has come’) Series. The artist plays with the word gelenek (‘tradition’) and makes ‘additions’ to ‘that which comes’, moving his pictorial tradition to another –richer- medium. When his familiar colourful patterns in his painting are now presenting themselves over metamorphosed animals (in this exhibition, on a bull and a fish), Irrek’s reading ceases to be an over-interpretation and becomes one with reality. These metaphoric sculptures of animals are parted with a thick and transparent, double-layered material, which should be explained as partings of the tradition the artist has taken over. These artistic constructions, of which we can find the traces in the mythical cosmos, enchant the spectator. The bull, which is the symbol of power and fruitfulness for Sumerians and Semites, emerges as bull figures over lyres found among the personal belongings of kings in their tombs in Ur. The bull’s horns are also symbols of gods, such as the Semite Sun God El. The bull is an equivalent of gods and heroes in many cultures and is used in a ritual of sacrifice called ‘taurobole’, as in the cult of the Sun God Mithra and that of Kybele, worshipped in Ancient Rome for the promise of personal peace. It is also well-known that the bulls is used as a central figure in Picasso’s paintings. And when it comes to the fish, Güneştekin approaches it in an analogy of memory, adorning its scaled skin and decorating his own motifs over its tail, head, and soft dorsal fin. In its mouth we see a skull (as if the fish had swallowed a human and couldn’t digest him/her, and thus wanted to throw it out), and over it we see a smaller fish. But what about the eyes? Having a woman’s eyes, we should add that the fish has also become a part of the narration through sexuality (for the fish has a wet habitat) and fruitfulness (for it lays eggs).

2021

Mixed Media

130x300x20 cm

2018

Ceramic

35x25x15 cm

Güneştekin’s polychrome, sometimes grotesque or surreal ceramic works take the form of fish, urns, human skulls, and horns, and are reminiscent of the story of Dhul Qarnayn and other myths and fables. The series carries the general title Dhul Qarnayn, which is referred to as "he of the two horns" in the Quran. The series carries the general title of Dhul Qarnayn. There are conflicting accounts of who this legendary Yemeni king was (some believe he was Alexander the Great), but in the Quran, he is referred to as "he of the two horns", sanctioned by Allah to build a Wall between mankind and Gog and Magog, man-eating giants from the Turkistan region who embodied chaos. According to most versions of Islam’s description of the Apocalypse, if Gog and Magog breached the wall, it would bring about the end of the world followed by the Resurrection, once God destroyed them. Dhul Qarnayn has many other legends attributed to him, but in Güneştekin’s hands we have the classic guardian king figure empowered to save the world from destruction. He has rendered the idea of him in a series of grotesquely beautiful ceramic urns containing ornate skulls and horns that radiate from and through the walls of the urns, as if he is a Medusa figure.

2019

Mixed Media

420x175x30 cm

In his series titled “Backyard of God”, the artist interprets the story of the Garden of Eden not as a tale of the origins of sin and death, but as a tale of the chance of immortality humans briefly had but quickly lost. The main themes of the story of the Garden of Eden are goodness, evilness, and immortality. It is because Adam and Eve ate the fruits of the tree of life and were expelled from the heavens where they would live forever. The chance of immortality was thereby lost. This does not mean that the story was written out of longing for immortality. On the contrary, the story suggests the acceptance of mortality.

Mortality has been, from the beginning of time, a characteristic of human life, and the very rare exceptions do not alter that fact. The same was true for Homer. There were very exceptional cases where a mortal was granted immortality. But this did not make any difference: all humans were well aware that death awaited them, and the tables wouldn’t turn. Adam and Eve were not immortal beings who fell into a place where they had to die because they had sinned; they were mortal beings who had a remote and momentary chance of eternal life but gained this chance only accidentally, and again, because of an accident, were deprived of that same chance. By thus rationalizing the events, the artist approaches through his works the entire question of life and death, and the naturalness and potentiality of both concepts in human life.

2021

Ceramic

23x30 cm

2021

Ceramic

23x30 cm

2021

Ceramic

23x30 cm

2021

Oil on Canvas

100x100 cm

The painting invites us to witness the emergence of an exquisite butterfly. The butterfly stays in the betwixt and between the chrysalis stage of transitions for just a little too long before it will be able to open herself to the new life that wants to take wing. We are in awe of the mystery of the transformation that has taken place within that now empty chrysalis, that little cocoon, and are thrilled by the beauty of this winged creature. The ancient Greeks associated the butterfly with the mind and soul. Psyche means both “soul” and “butterfly” and this linguistic link refers to the soul’s or psyche’s need for concealment and hiding during the transformation process. When the caterpillar transforms into a chrysalis, it offers the butterfly a haven. The butterfly’s symbolic connection to the psyche reminds us of the need for sacred space during times of transformation. It tells us that entering the chrysalis might be accompanied by feelings of inwardness, introversion, and a desire to retreat from regular, everyday activities. The painting speaks about one of the powerful mythic motifs in human life that is the pattern of ending and renewal.

2021
Mixed Media
79x115x25 cm

2021
Mixed Media
180 Ø cm

50th Year Of The United Arab Emirates Customized
2021
Mixed Media

2021
Ceramic
25x30 cm

2021
Ceramic
25x30 cm

2021
Ceramic
25x30 cm

2021

Ceramic

25x30 cm

2021

Ceramic

25x30 cm

2021
Ceramic
25x30 cm

2021
Ceramic
25x30 cm

2021
Ceramic
25x30 cm

2021
Ceramic
25x30 cm

2021
Ceramic
25x30 cm

2021
Ceramic
25x30 cm

2021
Ceramic
25x30 cm