Marilyn Monroe is a striking example from Turkish artist Mulat Pulat's Interface series. In Marilyn Monroe, Pulat has appropriated a famous shot of Marilyn Monroe surrounded by reporters as she is outside the infamous Graumans Chinese Theatre in Hollywood. We are strangely hypnotized by the glamour of the image, 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 lines of shaded colour, in the most part on Marilyn'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.
In Marilyn Monroe, Murat Pulat manages to add a multifaceted dimension to a simple yet glamourous moment in time, simultaneously combining the past with the present.
CAPTION:1953: EXCLUSIVE A portrait of actress Marilyn Monroe (1926 - 1962) surrounded by reporters and fans outside Grauman's Chinese Theater in Hollywood, California (Photo by M. Garrett/Murray Garrett/Getty Images)