Audio: Murat Pulat, Untitled
Murat Pulat (Turkish, b. 1978)
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Murat Pulat (Turkish, b. 1978)


Murat Pulat (Turkish, b. 1978)
signed and dated 'Murat Pulat 2012' and inscribed in Turkish (on the reverse)
oil on canvas
63 x 86 5/8in. (160 x 220cm.)
Painted in 2012
Special notice
Lots are subject to 5% import Duty on the importation value (low estimate) levied at the time of collection shipment within UAE. For UAE buyers, please note that duty is paid at origin (Dubai) and not in the importing country. As such, duty paid in Dubai is treated as final duty payment. It is the buyer's responsibility to ascertain and pay all taxes due.

Lot Essay

'Murat Pulat mostly uses film images in his paintings. The films of Godard especially have a privileged place in his work. In Pulat's oeuvre, letters and words have a vital place again, as is the case in Godard's films. Letters reinforce the play toward form and content as individual manifestations. When Pulat adds colour, he sometimes uses objects that add spark to black and white images. The objects are enlivened on a black and white background and sometimes, colours are woven as if to create a sense of touch. The images he refers to as signals can be read as manifestations of the blind directing the colours.'
(Ali Akay, Art Historian, from Deliberating on the Blind)

The viewer is strangely hypnotized by the glamour of the image, a snapshot from one of Godard's films, further encouraged and drawn into this pseudo-reality through the use of Pulat's own interpretation of pointillism coupled with a photorealistic technique. This formation makes one feel a continuity that persists outwards from the canvas while letting the traces that form the figure in perception get deeper within different colors and tones providing the painting with a sculptural effect.
Murat Pulat's references to such movie scenes extend the duration of the paintings and bring the viewer to a perception of multiple sensations. The thick paint particles forming Pulat's paintings are like pixels forming a motion picture therefore emphasizing the reference itself. This, in a way, is an act of reversing the contemporary methods of expression formed through the effects of digital technology and commenting on them through a plastic narration.
The black and white colours, enhancing this antiquated feel and the incorporated streaks of blue pigment framing the woman's face, ironically hark back to the television test card in the 1960s and 1970s in which a set of coloured bars on television screens intended to assist viewers in the calibration of television sets.

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