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Irfan Önürmen

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This book is published in conjuction with the exhibition:İrfan Önürmen C24 GalleryMay 4 ­— June 16, 2012© 2012, C24 Gallery

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Page 1: Irfan Önürmen
Page 2: Irfan Önürmen
Page 3: Irfan Önürmen

İrfan Önürmen, a leading figure within the contemporary art scene

of Istanbul, has created work over the last 20 years that is con-

ceptually coherent and stringent as well as formally complex

and pluralistic. His oeuvre consists of paintings and drawings

on canvas and (news)paper, tulle works as well as objects and

installations made of newspapers. The artist critically analyzes the

current state of society through the deconstruction of media rep-

resentations of political issues as well as of incidents within the

common lives of ordinary men. Anonymous figures struggle to get

along inside the mess of the heterogeneous urban chaos they are

exposed to day by day.

03POWERFUL BLASTS OF IMAGES

BY MARCUS GRAF

Page 4: Irfan Önürmen

POWERFUL BLASTS OF IMAGES

BY MARCUS GRAF

Page 5: Irfan Önürmen

İrfan Önürmen, a leading figure within the contemporary art scene

of Istanbul, has created work over the last 20 years that is con-

ceptually coherent and stringent as well as formally complex

and pluralistic. His oeuvre consists of paintings and drawings

on canvas and (news)paper, tulle works as well as objects and in-

stallations made of newspapers. The artist critically analyzes the

current state of society through the deconstruction of media rep-

resentations of political issues as well as of incidents within the

common lives of ordinary men. Anonymous figures struggle to get

along inside the mess of the heterogeneous urban chaos they are

exposed to day by day.

05

Page 6: Irfan Önürmen

06

FLAS

HBAC

K

His work begins in the late 1980s; İrfan Önürmen started to

paint fragmented images of faceless figures that invited the spec-

tator to actively complete the piece in order to become involved

and engaged in the depicted scene. His paintings formed a cri-

tique of the mutation of visibility and publicity in the media, in

which the cruellest images serve the people’s hunger for sensa-

tion and spectacle. The works’ socio-political engagement result-

ed from his critical social and political awareness.

Besides canvas pieces, he has produced drawings and paint-

ings on newspaper as well as collages created out of newspaper

images dating back to his years as a student. There, often a single

figure stared directly at the spectator in order to build a relation-

ship with him, though the work’s protagonist was never able to

express anything but an empty gaze. Loneliness surrounded the

figure, underlining the superficial relationship between real every-

day incidents and their representation in the newspaper.

A different form of critique took place more explicitly within

his installations and objects built out of newspapers. There, as

now, the artist used newspapers to create six archives of human

(hi)stories, where he, e.g., constructed a Terror Factory or a New

Baghdad Museum. Here, Önürmen used newspapers as material

to create environmental interventions that contained a direct po-

litical and social critique.

The last work group in his oeuvre was based on tulle pieces

and installations with tulle. There, besides dealing with questions

of society and the impact of media on the construction of reality,

he was very much concerned with the creation of a painting itself,

as he questioned interior painterly and artistic issues like space,

layering or figure.

FLASHBACK

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07

THE CURRENT SHOW AT C24 GALLERY

For İrfan Önürmen’s first solo show in a gallery in the U.S., C24

presents a variety of pieces from different groups of work. Next

to examples from various tulle series, the artist exhibits parts of

his sixth archive (Panic Series Relief), one newspaper sculpture as

well as a series of monochrome but figurative paintings entitled

Crime Watching.

Önürmen started this series, which continues today, in 2006.

The single works of Crime Watching consist of different materials

and show various conceptual and formal layers. On the back of

the canvases, the artist painted scenes that appear as unknown

yet familiar. Observing the work closely, the spectator understands

that the motives of the paintings originate from television images.

As these have a great influence on the pool of our visual culture,

and on the way we understand reality, İrfan Önürmen deconstructs

their content and aesthetic matters in order to reveal a danger that

underlines all mass media today; Crime Watching deals with the

issue of passively following crime on TV. At home, we watch the

brutality and cruelty of incidents that we already know exist. We

do not learn about jobbery, political failures, acts of terror or con-

struction disasters in the news. We know them; we live with them.

Nevertheless, still we watch and, agape, consume the unstoppable

stream of images.

İrfan Önürmen reverses the act of passively watching by cre-

ating his own visual versions of reality. After shooting hundreds

of pictures from the TV screen, he chooses the ones that suit his

artistic, aesthetic and conceptual interest. For the artist, these im-

ages illustrate the current state of Turkey, as they form a con-

glomerate of urgent social and political matters. His paintings are

like counter-strikes against the subjective camera, editing and

presentation of information, with which media experts try to cre-

ate a visual-psychophysical impact on the audience at home.

THE CURRENT SHOW AT C24 GALLERY

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08

İrfan Önürmen takes these images as the theoretical and for-

mal base of his series. On the ground of the canvases, he paints

parts of the scenes of the TV screen in a fragmental and expres-

sive way. Still, unlike the tele-reality, the artist does not claim to

reveal truth, as he is not interested in producing knowledge and

his deconstruction of reality is not based on scientific terms and

methods. He uses the chaos of our existence as the ground for

forming artistic discussions, which question the world we live

in. Önürmen is not interested in personal or individual stories,

but rather in the way society functions. His focus therefore is

not micro but macro. That is why the artist is mostly hiding the

face of the protagonists of his scenes. If the identity is unknown,

the figure turns into a symbol without personal story or history,

so that the spectators can put themselves into the image and

become part of it.

In an early stage of his career, the artist decided to erase the

face, because he was more interested in the general effect of

the painting than in any individual story. During the creation of

his works, the artist follows the idea of an all-over composition

without a center; he feels no difference between the creation

of a figurative or abstract painting regarding their plasticity.

Nevertheless, the concern of the works is never intrinsic or self-

contained, but social and political; the scenes on the canvases

are always related to human existence and social and cultural

behavior, in which often brutal and destructive actions are lead-

ing to the consumption of human life itself.

Onto the background of the paintings of Crime Watching, on

layers of tulle that overlap the previously painted incidents, Önür-

men introduces parts of figures and objects, which clash with the

ones on the ground. The mix of different materials and elements

creates a chaos, in which the spectators have to find their own

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09

sense of meaning. This activation of the audience, which calls for

the participation of the spectator in the decoding of the image,

is a basic characteristic that can be found in all the other series

by Önürmen. The heterogeneous formal and materialistic charac-

ters, as well as the different artistic matters of the works, refer to

the various layers of and within society. This interest in layers is

a basic issue in his work. In Crime Watching, Önürmen combines

painting on canvas with parts created with tulles, because he be-

lieves that the different materials formulate a dynamic within the

work. For him, brush and paint give the piece a hard and expres-

sive character, whereas tulle creates the feeling of lightness, po-

etry and transparency.

Crime Watching gives the audience a good introduction to his

oeuvre, as it shows his treatment of layers, color, paint and tulle. It

also reveals important conceptual issues like the presentation of

reality in the media and the issue of passively watching instead of

actively acting.

This brings us to the discussion of another group of works that

İrfan Önürmen exhibits at C24 Gallery under the title of Gaze Se-

ries. Here, without using any paint, he created large, mainly mono-

chrome, sometimes softly colored portraits of young people. The

men and woman seem familiar, but remain anonymous, as — in

spite of their familiar look — their identities remain unknown. The

portraits do not reflect any real person, as they are virtual and

fictional inventions of the artist. Önürmen calls them “internet

types,” referring to photos of people that circle in millions of web

sites all around the globe. After an intensive study of these “pro-

file pictures,” the artist combines various portraits in his work in

order to develop his own model of a face. Although it looks like a

portrait, the face we see is a fictional character that is developed

in the artist’s mind. Nevertheless, it seems familiar, because we

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10

live with these photographic representations that surround us in

real and virtual realities.

Önürmen’s depicted people show no facile expression or emo-

tion, though they are not afraid to look, as they stare directly into

the camera without any rejection or hesitation. Due to the detail

of the photo, nothing but the face is visible. No space or object

gives a clue about the story or history of the figure. Silent and

cold, the figure gazes, as it waits for an action of the spectator to

which it could react.

For Önürmen, these images can function as metaphors for the

current state of the digitized way we share private information

and build up personal communication. His works refer to the re-

sults of our current form of virtual communication; a digital soli-

tude surrounds the inhabitants of the digital age. While anything

and everything is possible, as well as visible and reachable for us,

a strange emptiness leads to passivity in the land of plenty.

The works of the Gaze Series consist of seven layers of tulle

in various white and grey tones. Softly colored portraits form an

exception within this series. Aesthetically, the portraits refer to

the computer, as the tulle’s texture resembles pixel structures.

The whole look of the portrait, which is based on geometrical

forms, draws connections to early vector graphics. On the other

hand, these pieces show a relationship to the cubistic and expres-

sionistic portraits of the classic modern avant-garde. Paintings of

Braque and Picasso as well as woodcut prints of Nolde may come

to one’s mind while looking at the Gaze Series. Instead of working

with paint and brush though, Önürmen here prefers tulle and scis-

sors. The use of this light fabric results from his general interest in

layers as well as in figurative abstraction.

In his early paintings and collages, he was already interested in

combining heterogeneous elements in order to develop a pluralis-

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11

tic aesthetic, in which the work should possess various formal and

conceptual layers. Besides this, the creation of space and depth

in the art of painting was always of special interest to him. In the

tulle works, Önürmen has found a way to propel this artistic inter-

est, as there is a tactile quality regarding their space, dimension

and material.

In a traditional painting, space only exists as a reproduction, il-

lusion or reference to the “real” space. It is an illusion, which forms

a stage for the protagonist of the painting. In İrfan Önürmen’s

tulle works, the spectator can virtually and physically enter the

work due to the material of the pieces. He gives tulle the role that

paint occupies in classic painting. As the painter uses layers of

paint to create a certain tone, Önürmen creates a physical and

conceptual depth for his scene on and between the tulle layers.

İrfan Önürmen presents the tulle works in Plexiglas boxes in or-

der to protect them. At the same time, he uses this exhibition meth-

od because it supports the feeling of depth and space, as it is a

space itself. Also, it assembles the layers of the piece and therefore

supports its visual-psychophysical impact on our senses. Besides

this, the box underlines the fragile, yet cold and artificial character

of the tulle layers. As tulle and scissors are “colder” than paint and

brush, here the presentation method supports the aesthetic of the

tulle works; they reference the emotionless reality that we are all

exposed to, and in which we constantly struggle to find meaning in

the disastrous state in which we live. In İrfan Önürmen’s works, as

in life, meaning is always hidden behind the obvious. In the artist’s

tulle pieces, the spectator is asked to see between the various lay-

ers in order to understand the work. Thus, they need a spectator

who actively observes instead of passively accepts.

This notion of art is even more obvious in the tulle composi-

tions showing street scenes within the Gaze Series. The figures of

THE CURRENT SHOW AT C24 GALLERY

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MARCUS GRAF12

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13

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the works are not alone as they are in the portraits, but here are

in the company of other people. Besides this, their environment

is clearly marked and visually distinguished. Walking or stand-

ing on the streets of a big city, the protagonists are captured by

the camera while they are involved in an action. Again, different

from the portraits, the scenes are depicted in a hasty snap-shot-

aesthetic, where the identity of the people is hidden, their faces

blurred. Nevertheless, cloth and space give us hints about the life

of the people, who we understand as city dwellers in their daily

rush in the streets of a metropolis like Istanbul. Again, the im-

ages seem familiar, as they resemble images from newspapers

and magazines, though everything is constructed fiction. Here,

artifice and illusion mislead the audience and reveal the ease of

betraying them in the traps of their expectations and clichés.

In the Gaze Series, as in a collage, İrfan Önürmen combines var-

ious elements from different visual sources to create works that

claim to be trustful and reliable images of reality, though actu-

ally nothing fits and nothing belongs together. Nevertheless, the

pictures make perfect sense! This notion of “sense” and “mean-

ing” finds its counterpart in urban life, where clashes of traditions,

cultures and shifts are forming a polyphonic symphony of chaos

and disorder. There, no religious, political or scientific expert can

promise absolute truth, meaning or sense, as the world is broken

in uncountable pieces, out of which reflections of reality can only

be subjectively reassembled by the spectator. This understand-

ing of our contemporary world underlies the artistic notion and

approach of İrfan Önürmen, as he gives the spectator the respon-

sibility of forming his own world view. Out of the layers of tulles,

and their various figures, objects, tones and elements, he has to

create his own image, which to a certain degree becomes an indi-

vidual reflection of his reality.

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This approach is also visible in the series of 22 small tulle por-

traits shown at C24 Gallery. Here, the spectator is confronted with

blurred black and white images of 22 men and women. Different

from the large portraits, these images are more mysterious and

hidden; the depicted people appear like ghosts. İrfan Önürmen

makes the decoding of these works even more difficult, as he cov-

ers their faces with commonly known symbols. Signs for money,

a Playboy Bunny, atomic energy, weapons and other socially or

politically important matters hide the character and identity of

the people. At the same time, seen as a whole, the series reflects

on the current state of Turkey. Nevertheless, the relation between

the sign and the portrait is unclear and subjective, so that the

intuition of the spectator is asked to draw conclusions out of the

conglomerate of people and signs. In Eight Women, another tulle

series in which the artist combines portraits with objects, he deals

with the representation of female victims of domestic violence

and killing in Turkish newspapers. There, the relationship between

the presented people and the killing instruments is more obvious

and understandable, as Önürmen aimed at taking a clear stance

against violence.

The small Gaze Series, though, is more subversive, complex

and mysterious. The task of understanding the works gets even

more difficult, when the spectator steps back from a single por-

trait and starts to observe the series, which is seen by Önürmen

as one coherent work, as a whole. There, the relationship between

the single portraits and their signs, but also the connection be-

tween the various works of the series, forms a wider discussion. In

a single work, one observes a part of a socio-political micro-dis-

cussion. As a whole, the series reveals the complexity and hetero-

geneity of society by opening up a pluralistic macro-perspective

on the world the artist lives in.

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16

C24 Gallery also shows a large tulle work entitled Camouflage.

Here, İrfan Önürmen is formally driven by the question of how, in the

most minimal way, he can create a tulle work. The artist decided to

use a cut-out method, where he takes out various parts within the

seven layers of white tulle to create the illusion of form and figure.

In this way, the sense of depth and space is created through the

erasing of material, where empty spots within the layers of tulles

form the details of the protagonists of the work’s scene.

The spectator sees in the work a group of American soldiers

walking through a desert. From a distance, the group approaches

the observer, walks in his direction. Although the piece evokes as-

sociations like Operation Desert Storm or other military activities

that we have witnessed live on TV, the actual scene remains un-

known, unclear and arbitrary. The figures seem not only to walk in

the desert but also in the space between the layers of tulles. Once

again, Önürmen’s play with illusion and physical space is impor-

tant for the understanding of this work. The work’s title refers to

the clothes of the soldiers, the process of hiding in between the

tulle layers, as well as being hidden behind the screens of the me-

dia industry. Once again, the interconnection between formal and

conceptual complexity in İrfan Önürmen’s work becomes obvious.

In the end of this text, I would like to discuss a last series, which

is presented at C24 Gallery. The Panic Series Relief, including a figu-

rative sculpture standing in front of the relief, shows fragments of

incidents of politics and terror taking place in Turkey and abroad.

In earlier archives and installations, İrfan Önürmen stacked pa-

per, glued the stacks together and cut them into models of real

objects, which carry references to concrete social or political in-

cidents. In general, the used newspapers in these works do not

have any additional drawing or painting. The pieces cause a great

alienation effect by turning the newspapers into realistic looking

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17

three-dimensional objects like guns, bombs or historical sculp-

tures and artifacts.

In the Panic Series Relief, the artist proposes a contemporary

version of the relief, where he combines forms and concepts of

contemporary art with current issues of local and global historical

incidents. The relief, through its possibility of presenting images

following one after another, has the capacity to reveal incidents

in changing times and changing situations. Therefore, it is a great

medium for telling stories. İrfan Önürmen’s relief questions the

notion of panic in today’s society. The fear of war, earthquakes,

economical crisis and other threats creates a social environment

of permanent subversive or obvious panic. This fear, which has be-

came a dominant emotional state in modern societies, can easily

be misused for political interests, as seen in politics all around the

world. In this context, Önürmen’s Panic Series Relief focuses par-

ticularly on representations of feared incidents in the media; the

artist reveals how the media reflects and prepares the ground for

society’s panic at the same time. Cutting into the layers and stacks

of newspapers, he highlights certain people, objects and incidents

by erasing all textual and visual details around them. In this way,

the audience can concentrate on aspects of everyday life from a

new perspective, where the relations between the emphasized are

intuitive and open. That is why the works are not didactic. They do

not imply a one-dimensional critique of the audience, but open up

new possibilities of connections and relations in order to go be-

yond classic or cliché-like notions of truth and reality.

For Önürmen, social relations are never simple. That is why,

as the world is fragmented and broken in pieces, the artist can

only present his view of the world and ask the spectator to have a

look on his own. The reliefs are therefore like puzzles with missing

parts, which have to be formed by the spectator. He is asked to

THE CURRENT SHOW AT C24 GALLERY

Page 18: Irfan Önürmen

give up his passive spectator role for becoming an active creator.

The sculptural figure in the exhibition space, which is observ-

ing the relief, resembles a manager, boss, or leader. Made out of

the same material as the world he observes, he evaluates his work,

a world of panic and disasters that he has helped to create.

So we see that İrfan Önürmen fights in his Panic Series Relief

against today’s visual overload and news pollution by individual-

izing the images and creating his own ‘page layout,’ where he uses

the newspaper as material and content, in order to criticize the

media system from within the system itself.

18

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CONCLUSION

The exhibition at C24 Galley shows that İrfan Önürmen is a

transdisciplinary artist, who over the last 20 years has developed

a work that follows an aesthetic of the sublime while revealing

the destructive methods of the media. His oeuvre is about the

process of creating and receiving visual information, observing

the world and decoding images as well as creating a painting.

Also it deals with the interconnection between first (natural) and

second (media) reality, as the artist produces his own critically

rendered versions.

Önürmen is guided by mistrust against any notion of gener-

alized reality or promise of absolute truth. The spectator of his

works therefore is invited to participate in the pieces by fulfilling

their fragmental syntax. He might find bits of reality between the

heavy strokes of brush, the sentences of the newspaper objects

or the layers of the tulle works. It is social concern and engage-

ment that connects İrfan Önürmen with the spectator, an attempt

to reveal the inhuman methods of the money-hungry image in-

dustry, and a struggle for the possibility of getting a glimpse of

meaning inside the heterogeneous chaos of today. That is why his

work has a great significance; he reaches far beyond the classic

notions and roles of art in order to take an artistic stand, which is

aesthetically refreshing and critically deep at the same time.

19

CONCLUSION

Assist. Prof. Dr., Yeditepe University, Fine Arts Faculty, Arts Management Dep., Is-

tanbul (Resident Curator, Plato Sanat, Istanbul).

Parts of this text are based on “İrfan Önürmen - Calm like a Bomb,” PI-Artworks,

Istanbul, 2010.

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22

Col

lect

or, 2

009,

new

spap

er, H

65.

35 in

. (16

6 cm

)

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23

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Panic Series Relief (detail), 2009, newspaper, 22.05 x 984.25 in. (56 x 2500 cm) 25

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27

Cam

ouflage, 2004, tulle, 7 layers, 78.74 x 118.11 x 27.56 in. (200 x 300 x 70 cm)

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29

Crim

e Watching, 2006-2012, oil and tulle on canvas, 94.49 x 157.48 in. (240 x 400 cm

)

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Foot

ball,

200

2, tu

lle a

nd te

xtile

mat

eria

l, 59

.06

x 76

.77 x

3.94

in. (

150

x 19

5 x

10 c

m)

30

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33

Night Series III, 2008, tulle and textile m

aterial, 68.9 x 76.77 x 3.94 in. (175 x 195 x 10 cm)

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34

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35

Self Portrait, 2012, tulle, 4 layers, 78.74 x 110.24 in. (200 x 280 cm)

Page 36: Irfan Önürmen

GAZE SERIES

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GAZE SERIES

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38

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Gaze Series #12, 2012, tulle, 77.95 x 53.54 in. (198 x 136 cm

)

39

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40

Gaz

e Se

ries

#13,

201

2, tu

lle, 7

7.95

x 51

.18 in

. (19

8 x

130

cm)

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41

Gaze Series #16, 2012, tulle, 77.95 x 51.18 in. (198 x 130 cm

)

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42

Gaz

e Se

ries

#19,

201

2, tu

lle, 7

7.95

x 51

.18 in

. (19

8 x

130

cm)

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43

Gaze Series #20, 2012, tulle, 77.95 x 55.91 in. (198 x 142 cm

)

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44

Gaz

e Se

ries

#15,

201

2, tu

lle, 7

7.95

x 51

.18 in

. (19

8 x

130

cm)

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45

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46

Gaz

e Se

ries

#17,

2012

, tul

le, 5

1.18

x 77

.95

in. (

130

x 19

8 cm

)

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TODAYSERIES

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TODAYSERIES

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50

Top

Left:

Tod

ay S

erie

s #2

1, 20

12, p

aint

on

tulle

, 4 la

yers

, 15.

35 x

11.4

2 in

. (39

x 2

9 cm

)Top Right: Today Series #22, 2012, paint on tulle, 4 layers, 15.35 x 11.42 in. (39 x 29 cm)

Bottom Left: Today Series #24, 2012, paint on tulle, 4 layers, 15.35 x 11.42 in. (39 x 29 cm)

Bottom Right: Today Series #25, 2012, paint on tulle, 4 layers, 15.35 x 11.42 in. (39 x 29 cm

)

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51

Today Series #27, 2012, paint on tulle, 4 layers, 15.35 x 11.42 in. (39 x 29 cm)

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52

Toda

y Se

ries

#23,

201

2, p

aint

on

tulle

, 4 la

yers

, 15.

35 x

11.4

2 in

. (39

x 2

9 cm

)

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53

Top

Left:

Tod

ay S

erie

s #3

0, 2

012,

pai

nt o

n tu

lle, 4

laye

rs, 1

5.35

x 11

.42

in. (

39 x

29

cm)

Top Right: Today Series #31, 2012, paint on tulle, 4 layers, 15.35 x 11.42 in. (39 x 29 cm)

Bottom Left: Today Series #33, 2012, paint on tulle, 4 layers, 15.35 x 11.42 in. (39 x 29 cm)

Bottom Right: Today Series #34, 2012, paint on tulle, 4 layers, 15.35 x 11.42 in. (39 x 29 cm

)

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54

Toda

y Se

ries

#35,

201

2, p

aint

on

tulle

, 4 la

yers

, 15.

35 x

11.4

2 in

. (39

x 2

9 cm

)

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55

Top

Left:

Tod

ay S

erie

s #3

2, 2

012,

pai

nt o

n tu

lle, 4

laye

rs, 1

5.35

x 11

.42

in. (

39 x

29

cm)

Top Right: Today Series #36, 2012, paint on tulle, 4 layers, 15.35 x 11.42 in. (39 x 29 cm)

Bottom Left: Today Series #37, 2012, paint on tulle, 4 layers, 15.35 x 11.42 in. (39 x 29 cm)

Bottom Right: Today Series #38, 2012, paint on tulle, 4 layers, 15.35 x 11.42 in. (39 x 29 cm

)

Page 56: Irfan Önürmen

56

Toda

y Se

ries

#39,

201

2, p

aint

on

tulle

, 4 la

yers

, 15.

35 x

11.4

2 in

. (39

x 2

9 cm

)

Page 57: Irfan Önürmen

57

Today Series #28, 2012, paint on tulle, 4 layers, 15.35 x 11.42 in. (39 x 29 cm)

Page 58: Irfan Önürmen

58

Top

Left:

Tod

ay S

erie

s #4

0, 2

012,

pai

nt o

n tu

lle, 4

laye

rs, 1

5.35

x 11

.42

in. (

39 x

29

cm)

Top Right: Today Series #41, 2012, paint on tulle, 4 layers, 15.35 x 11.42 in. (39 x 29 cm)

Bottom Left: Today Series #42, 2012, paint on tulle, 4 layers, 15.35 x 11.42 in. (39 x 29 cm)

Bottom Right: Today Series #29, 2012, paint on tulle, 4 layers, 15.35 x 11.42 in. (39 x 29 cm

)

Page 59: Irfan Önürmen

Today Series #26, 2012, paint on tulle, 4 layers, 15.35 x 11.42 in. (39 x 29 cm)

59

Page 60: Irfan Önürmen
Page 61: Irfan Önürmen

This book is published in conjuction with the exhibition:

İrfan Önürmen C24 GalleryMay 4 — June 16, 2012

© 2012, C24 Gallery

All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, mechanical, electronic, or otherwise, without prior permission from the publisher.

ISBN: 978-0-615-62720-5LOC: 2012937180

Founded by Maide & Emre Kurttepeli, Asli & Erkut Soyak and Mel Dogan.

Executive Director: Kristen Lynn Johnston

Design by Kyle LaMarEdited by Ellen Lubell

Printed in New Yorkby Earth Enterprise

c24 gallery

514 West 24th Street

New York, NY 10011

+1 (646) 416 6300

c24gallery.com

Page 62: Irfan Önürmen
Page 63: Irfan Önürmen

This book is published in conjuction with the exhibition:

İrfan Önürmen C24 GalleryMay 4 — June 16, 2012

© 2012, C24 Gallery

All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, mechanical, electronic, or otherwise, without prior permission from the publisher.

ISBN: 978-0-615-62720-5LOC: 2012937180

Founded by Maide & Emre Kurttepeli, Asli & Erkut Soyak and Mel Dogan.

Executive Director: Kristen Lynn Johnston

Design by Kyle LaMarEdited by Ellen Lubell

Printed in New Yorkby Earth Enterprise

c24 gallery

514 West 24th Street

New York, NY 10011

+1 (646) 416 6300

c24gallery.com

Page 64: Irfan Önürmen

GA

LLER

Y