Bahar Artan Oskay 'The Presence Of Absence' Print Available

Artist: Bahar Artan Oskay
Title: The Presence Of Absence
Medium: Wall Sculpture
Size: 24.2 x 20.5 cm
Edition: 150
Prices: $900

 

Istanbul-born Bahar Artan Oskay (1984) turns destruction into design. Armed with degrees from Yeditepe and Yıldız Technical Universities culminating in a Ph.D. she began by re-styling modern masters, inserting Mondrian grids and Matisse cut-outs into pop-culture contexts to test how fame warps seeing. Frustrated by her own polished surfaces, she literalized Picasso’s maxim that “every act of creation is first an act of destruction.” Oskay now saws dry figurative canvases into loose squares, then re-assembles the shards into swirling, pixel-like abstractions where brush-strokes meet saw-blade scars. The process is half chess, half chance: she never knows which color relationships will survive the shuffle, so each final panel records a tense truce between control and chaos.

The resulting wall works shown in solo and group exhibitions across Turkey and Japan read as slow-motion explosions of her earlier style, simultaneously erasing and preserving personal art history. By grafting fragments above the picture plane, she also toys with sculptural depth, letting shadows complete the composition as daylight shifts. When she isn’t cutting canvases, Oskay teaches and co-directs the Fine Arts program at Yeditepe, mentoring the next generation to question, cut and rebuild whatever tradition they inherit.

Andrej Barov 'Urban Fire 3' Print Available

Artist: Andrej Barov
Title: Urban Fire 3
Medium: Giclee Print
Size: 39.4 x 26.4 Inches
Edition: 150
Prices: $650

 

Andrej Barov, born in Leningrad in 1958, grew up inside a family orchestra of composers and actors, so stage-light and rehearsal-room shadows became his first visual vocabulary. After earning a 1981 theater-studies degree from Leningrad’s Academy of Theatre, Music and Film, he emigrated to Munich in 1988 and turned the proscenium into the pixel, swapping scripts for scanners to probe how media manufactures collective memory. Working photographically, painterly and digitally often on the same canvas Barov “paints” directly into a computer with stylus and brush, then prints, stretches and varnishes the data until the screen’s cold glow warms into tactile pigment.

Series such as Durchlöscher dissect iconic drink labels into vertical color bars, translating brand recognition into abstract scent-triggers, while Correlation re-codes Mediterranean landscapes through an “axial-image requirement principle,” reducing natural vistas to rhythmic signal impulses that test the limits of perceptual psychology. The goal is not documentation but revelation: to make viewers feel how digital fragmentation re-writes history in real time.

Barov’s output has appeared in over 120 European museum and gallery exhibitions since 1988, earning honors that range from the European Photography Award (1993) to Russia’s Ministry of Culture prize (1998) and Germany’s Bronze ADC (2003). Whether he is visualizing the color of perfume or compressing geopolitical timelines into geometric mosaics, Barov keeps asking one question: if our eyes no longer trust reality, what does the mind obey?