Taylan Tekin - Critique by Timothy Warrington

Taylan Tekin Artist Art CritiqueThrough a juxtaposition of Renaissance ideas, pop culture and a cohesive use of unusual materials, Taylan Tekin conceives breathtaking works of art in which plastic fuse beads, often layered atop photographic images, come together in striking compositions. Tekin is undeniably forward thinking in his approach; fluidly merging artforms, this artist effortlessly brings together digital art and applied art to forge unusual and captivating works of art. In many ways, hundreds of years of art history are captured and interpreted through Tekin’s art ranging from Pre-Renaissance and Byzantine mosaic art to pieces such as ‘Mona Lisa Remake’ that suggest the resounding influence of Leonardo Da Vinci and traditional schools of art. On the other hand, the artist conversely propels these historical references into the modern world through conceptions such as ‘Smoking Rastaman’ that give insight into the extended contemporary nature of his collection.
 
Tekin often takes a stylistically post impressionistic approach to his medium in reference to the placement of beads which at times also eloquently reference expressionist artists, whose renowned use of colour and brushstroke create dynamic and engaging works of art. Indeed in Tekin’s piece ‘The Vincent’ he pays true homage to this artistic period in his reimagining of van Gogh’s self-portraiture. Alternatively, in artworks such as ‘Hummingbird and Fuschia’, Tekin presents the viewer with an artistic approach stemming from a more naturalistic influence enriching the man-made plastic fuse beads with a softer, increasingly organic, semblance. In fact, this work demonstrates Tekin’s ability to share the transcendent potential of the beading. The detail in the bird’s feathers gives the overall visual experience a tactile quality as the three dimensional medium offers further depth to the artwork. An influence of Paul Signac can also be detected through the nuance of colour in which many daubs of colour are placed alongside one another to illude the eye and subsequently allow viewers to create the full detailed image in their minds. The suggestion of divisionism in this illusive technique is superbly demonstrated throughout Tekin’s art due to the freedom gifted to the observer as they gaze upon the works and, in this instance, we can easily picture the hummingbird darting among the fuchsias.
 
Artworks such as ‘Curious Eden’ place the beaded image onto a photographic background providing a perceivable element of the artistic intent heralded in street art. Tekin’s sophisticated application of his inspirations, through unique materials, provides the viewer with an utterly individual experience that combines the philosophical ideas related to beauty of old artistic masters with modern day execution, thought and vision.
 
Despite his modern approach, Tekin has taken clear and direct inspiration from Renaissance art and this is exemplified in his piece in which he recreates Michelangelo's famous image, ‘The Creation of Adam’. The overt use of this reverent religious imagery also allows comparisons to be drawn between Tekin’s work and the phenomenal religious mosaics and stained glass windows often found in magnificent cathedrals. Although Tekin’s works often measure below 30cm, the fundamental practices can be considered in relation to one another regardless of the disparity in dimension. Through the assiduous application of each minute detail, Tekin is able to create a level of chiaroscuro that is found in the most detailed of paintings. Tekin’s artworks suggest influences of the Byzantine mosaics, as found in Cattedrale di Monreale in Italy, and the Gothic stained glass of St. Vitus Cathedral, Prague. Through the series of thousands of individual coloured components which are meticulously selected with the intent of proffering the most aesthetic translation of a narrative, Tekin fluently expresses his mind’s process with such visual appeal that further comparisons can easily be drawn with diverse influences that range from ancient Roman mosaics to the stained glass of John La Farge.
 
In Tekin’s artworks, much like that of Gustav Klimt, every minuscule fragment enhances the overall image culminating in a myriad of comprehensive detail. Collections such as ‘Madonna’ indicate further similarities to Klimt through their portrayal of women via numerous distinctive facets. The technique utilised by both artists captivates the viewer and absorbs them into the wordless story immortalised in the artwork consequently allowing them to contemplate each aspect in regard to the overall message. The level of detail achieved in Tekin’s works is remarkable and, in the ‘Madonna’ collection, he utilises a subtle range of three tones to marvellously capture the light reflected in the composition.
 
Taylan Tekin achieves a remarkable level of detail in his creative process and succeeds in relaying his passion for his artform as well as his true affinity to the works that inspire him. His innovation is boundless and the fundamental capability to transport historic masterpieces into a contemporary setting is truly fascinating. Tekin’s intricate utilisation of fuse beads provides the viewer with visually stimulating works that convey a deep understanding of the artist’s perspective. The compositions reference history of art and are compelling in their intellectual comment on the world while they simultaneously illude the brain with its optical illusions. Tekin’s artworks delicately provoke thought whilst inviting the individual viewer to analyse the complex details of the work through the reflective qualities of the beads and the artist’s intuitive application of the medium.