{"id":2105,"date":"2021-10-01T14:15:17","date_gmt":"2021-10-01T11:15:17","guid":{"rendered":"http:\/\/www.serdarleblebici.com\/?p=2105"},"modified":"2021-10-01T14:15:18","modified_gmt":"2021-10-01T11:15:18","slug":"serdar-leblebicinin-resimleri","status":"publish","type":"post","link":"http:\/\/www.serdarleblebici.com\/?p=2105","title":{"rendered":"SERDAR LEBLEB\u0130C\u0130\u2019N\u0130N RES\u0130MLER\u0130"},"content":{"rendered":"\n<pre class=\"wp-block-preformatted makale\" style=\"font-size:17px\">Serdar Leblebici\u2019nin (SL) \u0130zmir\u2019in merkezindeki at\u00f6lyesi onun i\u00e7in sadece bir at\u00f6lye de\u011fil ayn\u0131 zamanda bir bar\u0131nak ve tap\u0131nak haline gelmi\u015f. O, bu mekanda yaratm\u0131\u015f oldu\u011fu tamamen kendine has d\u00fcnyas\u0131nda sanat\u0131n\u0131 derinden soluyarak ya\u015f\u0131yor.\n\nSL\u2019nin naml\u0131 \u201cG\u00f6vdeler Dizisi\u201d \u2018nden birka\u00e7\u0131n\u0131 alg\u0131lamam m\u00fcmk\u00fcn oldu; bu resimlerde g\u00f6k, yer, ve deniz bir b\u00fct\u00fcn haline getirilmi\u015f; soyut ile somut, bu gerilimli ortamda, \u00e7e\u015fitli sentezlerle g\u00f6r\u00fcnt\u00fcleniyor. Zaman a\u00e7\u0131s\u0131ndan \u201cdi\u2019li\u201d ve \u201cmi\u015f\u2019li\u201d ge\u00e7mi\u015fi, geni\u015f ve \u015fimdiki demleri ve gelece\u011fi bir arada ya\u015famam\u0131z temin edilmi\u015f; zaman, hem dura\u011fan hem de ak\u0131yor. A\u011fa\u00e7 g\u00f6vdeleri sanki \u201cEl Greco\u201d zerafetiyle boy g\u00f6steriyor; genelde \u201csiluet\u201d halinde g\u00f6r\u00fcnt\u00fclenmeleri onlar\u0131 daha gizemli k\u0131lm\u0131\u015f. Yapraklar, \u00e7i\u00e7ekler ve meyveler \u201cgidici\u201d olduklar\u0131 halde, k\u00f6kler ve g\u00f6vdeler kal\u0131c\u0131d\u0131r; i\u015fte bu resimlerdeki g\u00f6vdelerde bu g\u00fcc\u00fc hissedeceksiniz. Bu g\u00f6vdeler, sanki yerle g\u00f6k aras\u0131nda bir ba\u011flant\u0131 olu\u015fturuyor, ve t\u00fcm mevsimleri de ayn\u0131 samanda ama de\u011fi\u015fik mekanlarda ya\u015f\u0131yorlar. Onlar aras\u0131nda bazen bir insan g\u00f6vdesinin de yine siluet halinde yer ald\u0131\u011f\u0131na ve onlarla k\u0131yasland\u0131\u011f\u0131na tan\u0131k olunuyor. \u00c7ok eski zamanlardan kalma tap\u0131nak, konak ve k\u00f6pr\u00fc kal\u0131nt\u0131lar\u0131, onurlu hayaletler gibi, resimlerin derinlerinden varl\u0131klar\u0131n\u0131 f\u0131s\u0131ld\u0131yorlar.\nResimlerin ortak motifi, t\u00fcm zamanlarda ya\u015fanm\u0131\u015f hayal ve hakikatleri gizemli g\u00f6r\u00fcnt\u00fclerle yans\u0131tan bu mekanlarda sal\u0131narak ya da h\u0131zla ama umursamadan dola\u015fan, en kuytu yerlere bile girip \u00e7\u0131kan, her mevsimde ve her derinlikte ya\u015fayan \u201cbal\u0131k\u201d. Bu bal\u0131k, bir \u201cevren gezgini\u201d, ve bence bu bal\u0131k, \u00f6zenle yaratm\u0131\u015f ve yaratmakta oldu\u011fu bu evreni u\u00e7suz bucaks\u0131z bir mesken edinmi\u015f olan sanat\u00e7\u0131 SL\u2019nin ta kendisi. Bal\u0131\u011f\u0131n g\u00f6zleri, sadece bir \u201coptik alet\u201d olmaktan \u00e7\u0131km\u0131\u015f, ve en k\u00fc\u00e7\u00fck detaylar\u0131 bile yeteri kadar yanl\u0131\u015fs\u0131z ve eksiksiz tarif edebilen bir beynin par\u0131ldayan bir uzant\u0131s\u0131 ve nazar\u0131 haline gelmi\u015f; bu g\u00f6zlerden herhangibir g\u00fczelli\u011fin ka\u00e7aca\u011f\u0131n\u0131 sanm\u0131yorum. Edebi anlat\u0131mda, her yerde ve her zaman var olan, soyut ve somut her \u015feyi g\u00f6ren, bilen, ve anlatan o \u201cdaimi sesi (omniscient voice)\u201d bir e\u015fi bu bal\u0131k; ve onun g\u00f6zleri, imaj evrenini tarayan, se\u00e7en, ve \u00f6zenle g\u00f6ren ve g\u00f6r\u00fcnt\u00fcleyen \u201cdaimi nazar\u201d sanki. \nSL\u2019nin \u00e7ok sa\u011flam bir tekni\u011fi var; boyay\u0131, ustal\u0131\u011f\u0131n peki\u015ftirdi\u011fi bir cesaret ve maharetle kullan\u0131yor; kahverengi ve tonlar\u0131ndan ka\u00e7\u0131nm\u0131yor. Spatula ve boya-b\u0131\u00e7aklar\u0131, onun elinde s\u0131n\u0131rlar\u0131n\u0131 geni\u015fletiyorlar.\nSL\u2019nin yaratt\u0131\u011f\u0131 iki deh\u015fet verici portreyi inceledim. Bu g\u00f6r\u00fcnt\u00fcler kar\u015f\u0131s\u0131nda \u00fcrpermemek m\u00fcmk\u00fcn de\u011fil; ilk \u015fokun etkisi belle\u011finize kaz\u0131n\u0131yor. Bu portreler, baz\u0131 insanlar\u0131n ya\u015fam\u0131\u015f ya da ya\u015famakta oldu\u011fu zihinsel ve ruhsal travman\u0131n, azab\u0131n, ve hatta i\u015fkence, kabus, ve deh\u015fetin benzeri olmayan g\u00f6r\u00fcnt\u00fcleri. Sanat tarihinde bu janrda uluslar aras\u0131 m\u00fczelerde yer almaya lay\u0131k g\u00f6r\u00fclm\u00fc\u015f eserler aras\u0131nda b\u00fcy\u00fck Frans\u0131z ressam\u0131 T.G\u00e9ricault\u2019un ve Norve\u00e7li E.Munch\u2019un (\u00c7\u0131\u011fl\u0131k) resimlerini an\u0131msad\u0131m; ve, SL\u2019nin bu iki eserinin daha da deh\u015fet verici ve d\u00fc\u015f\u00fcnd\u00fcr\u00fcc\u00fc oldu\u011fu sonucuna vard\u0131m. \u00d6zellikle, G\u00e9ricault\u2019un, kendisi t\u0131marhanedeyken yaratm\u0131\u015f oldu\u011fu \u201cdelilik\u201d portreleri \u201cLouvre M\u00fczesi\u2019nde\u201d yer almaya lay\u0131k g\u00f6r\u00fclm\u00fc\u015fse, SL\u2019nin bu portrelerinin de\u011feri daha iyi anla\u015f\u0131l\u0131yor. Fizyonominin \u0131zd\u0131rab\u0131, salg\u0131n bir rahats\u0131zl\u0131k gibi, fonlara da i\u015flemi\u015f ve onlar\u0131n ana g\u00f6r\u00fcnt\u00fclerle kayna\u015fmas\u0131na neden olmu\u015f, ve b\u00f6ylelikle, bu portreler hummal\u0131 birer \u00e7\u0131lg\u0131nl\u0131k tablosuna d\u00f6n\u00fc\u015fm\u00fc\u015f; bakan\u0131 m\u0131hl\u0131yorlar.\nYerli, yabanc\u0131 t\u00fcm galerici, koleksiyoncu, ve sanatseverleri, SL\u2019nin resimlerini alg\u0131lamaya davet ediyorum; kendinizi \u00f6d\u00fcllenmi\u015f hissedeceksiniz.\n\nSezer AYKAN\n\nMAC, MVAM\n(MAC\u00a0: Master of Arts Criticism, MVAM: Master of Visual Arts Management)\nEkim-Octobre 5, 2006<\/pre>\n","protected":false},"excerpt":{"rendered":"<p>SEZER AYKAN<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"neve_meta_sidebar":"","neve_meta_container":"","neve_meta_enable_content_width":"","neve_meta_content_width":0,"neve_meta_title_alignment":"","neve_meta_author_avatar":"","neve_post_elements_order":"","neve_meta_disable_header":"","neve_meta_disable_footer":"","neve_meta_disable_title":"","footnotes":""},"categories":[615],"tags":[],"class_list":["post-2105","post","type-post","status-publish","format-standard","hentry","category-makale"],"_links":{"self":[{"href":"http:\/\/www.serdarleblebici.com\/index.php?rest_route=\/wp\/v2\/posts\/2105","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.serdarleblebici.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.serdarleblebici.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.serdarleblebici.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.serdarleblebici.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2105"}],"version-history":[{"count":1,"href":"http:\/\/www.serdarleblebici.com\/index.php?rest_route=\/wp\/v2\/posts\/2105\/revisions"}],"predecessor-version":[{"id":2106,"href":"http:\/\/www.serdarleblebici.com\/index.php?rest_route=\/wp\/v2\/posts\/2105\/revisions\/2106"}],"wp:attachment":[{"href":"http:\/\/www.serdarleblebici.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2105"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.serdarleblebici.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2105"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.serdarleblebici.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2105"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}