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IN FACTS

FEYYAZ, born 1962 in Istanbul, is a german artist who lives and works in Cologne.
He studied at the Academy of Fine Arts Cologne and graduated in free arts in 1992.
Feyyaz primarily works with photography and short film.



IN SHORT

In Feyyaz’ works life experience and fiction are melting to an autobiographical reflexion about the unavoidable distortion of fact. According to Feyyaz, this distinctive reality causes a kind of defenselessness which determines our being.


IN PARTICULAR

To this day, it is not possible for any branch of science to visualize dreams, memories or the subconscious. Psychology, medicine and engineering are clearly restricted when exploring thoughts, memories and dreams. No matter how advanced research may be, the possibility to create realistic images and video clips of thoughts and dreams still lies in far distance.

Should it ever be possible to reproduce human thought, it will be the beginning of a new era. Barely imaginable are the resulting chances and threats for mankind.

Art in all its disciplines has always pleaded its right to visualize the fictional and the unconceivable. Needless to say that the results of artistic efforts to depict myths, dreams and religious conceptions vary widely. To begin with, those depictions are always shaped by their contemporary period and its scientific knowledge and religious notions. The artist’s subjective perception, his or her political surroundings and focus influence the outcome of his or her product significantly.

Feyyaz’ photographic series and film works merge reality with fiction by combining the medium of exposure with additional image processing programs. Feyyaz subjects his photographs and short films to digital processing and transformation. But his manipulation does not seek to correct the image or accomplish the perfect fiction. Neither are alienation or abstraction intended. Feyyaz wants to combine diverse references to matters and places in one picture or in a sequence of images.

The artist’s own memories and his personal references to past, present and future are the basis and driving force behind Feyyaz’ work. His photographic and filmic works are neither judgemental nor reproductive. For Feyyaz it is about selecting places and situations and about creating references between them. His art enhances the interlacing and connection of diverse visual catalysts.

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Feyyaz’ works cannot be defined precisely in time and space. Nevertheless they contain obvious references to reality or even reproduce reality. By his visual interventions, Feyyaz creates a world in-between, which allows any given interpretation inspired by remembrances. Feyyaz designs a visual matrix, which calls for classification, cross reference and coherence. The artist confronts us, like in a déjà vue, with memento delusions.

The more of Feyyaz’ works one sees, the more questionable seems their classification and interpretation. This allows the viewer to open up for a more detached contemplation and to plunge into a twilight-like mood.

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