In the Portfolio Series
, Plato Sanat reviews and presents important positions within various disciplines and fields of Turkey’s contemporary art scene by organizing solo shows, which give an insight in the formal and conceptual work of exceptional artists in their mid-carriers. As the third of the series, this exhibition presented Seçkin Pirim.
The oeuvre of Seçkin Pirim, one of the leading artists in the field of contemporary sculpture, is based on a number of neo-minimalist forms of expression, which he merges in a great manner with contemporary strategies of art and design. His work proposes an aesthetic, which is able to form post-futurist, post-constructivist and post-minimal visions of our world that corresponds with our heterogeneous and plural existence in the fast speeding high tech chaos called reality. In his earlier works, Seçkin Pirim showed a poetic approach to the dichotomy between nature and culture by reducing the complexity of reality to its formal essence. His sculptures clearly revealed their roots in nature and in various forms of abstraction methods of the avant-gardes of the 20th century. In the early sculptures, Pirim merged cubism’s fragmented formalism and futurism’s notion of fast movement with a contemporary notion of design in order to develop a current aesthetic for our computerized age. Later, a connection to industrial products and machines became stronger. Though, different from product design and engineering, his works did not reveal any concrete use, but only pointed to what they are: material manifestations of artistic ideas. Instead of natural references, now Pirim’s work seemed to draw connections to our post-industrial world, in which our life is based and depends on relationships with machines, computer and robots. Today, the works do not represent anything anymore, and rather look like to follow an intrinsic motivation, which leads to an absolute abstract visual expression. Their formal character can be described as being minimal and expressive at the same time. The general form is often reduced to a clear geometrical shape, whereas its inner parts and sections show dozens of lines, which result from the use of many layers out of which the work consists. Seçkin Pirim has found a way to form his own language out of various strategies of Cubism, Futurism, Minimalism, as well as today’s three dimensional computer graphic and product design. That is why his work looks both familiar and strange. It discusses new aesthetics on the base of known art and design history. In this way, he proposes a way for sculpture to develop new ways of production, which overcome classical reproduction or postmodern eclecticism.