Gülay Semercioglu (Turkish, b. 1968)
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Gülay Semercioglu (Turkish, b. 1968)

Three S

Details
Gülay Semercioglu (Turkish, b. 1968)
Three S
signed 'GÜLAY SEMERCIOGLU' (on the reverse)
wire, screws and wood on board
68 7/8 x 68 7/8in. (175 x 175cm.)
Executed in 2011
Provenance
Jérôme de Noirmont Gallery, Paris.
Private collection, New York.
Private collection, New York.
Acquired from the above by the present owner.
Literature
A.C. Danto & M. Abramovich, Shirin Neshat, New York, 2010 (another edition illustrated in colour, p. 219).
E. Heartney, S. Neshat & S. Azari, Shirin Neshat: Women without Men, Milan, 2011 (another edition illustrated in colour, p. 59).
Exhibited
New York, Barbara Gladstone Gallery, Shirin Neshat, January - February 2008.
Paris, Galerie Jérôme de Noirmont, SHIRIN NESHAT: New Works, February - April 2008.
Special notice

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Lot Essay

'Minimal Abstraction that Weaves Light'

After being trained as a painter and creating large scale geometrical abstractions based on linear forms in the early stage of her career, Gülay Semercioglu began to question the use of paint. In the early 2000s, Semercioglu realized that she no longer wanted to use paint to create illusions, but she was keen to work with something that could physically reflect light and be touched by the viewer. By weaving thin colored metal wires to create color field abstractions, the artist began to create her series of abstract works.

From a distance, her works look like finely executed abstract, sometimes monochrome paintings, but as the viewer comes closer, he/she first feels and later sees something unexpected: eight to ten kilometers of thin silver core enamel coated wire which fills the canvas to create different forms and rhythms. Just as in relief sculpture, the play between the empty and the full gives a scattered aesthetic and a concrete deepness. At the same time, the viewer's eye comes across the emptiness between the various layers of wire.

Combining the eastern tradition of weaving carpets and producing fabrics with visual elements from the western tradition of painting, Semercioglu gives the work not only a postmodern attitude, but also places it in a strong intercultural position.
(text by P.I. SANAT EGITIM)
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