Osman Dinç: Sous l’arc-en-ciel de l’œil
Past exhibition
Overview
PI Artworks Istanbul is thrilled to present Osman Dinc’s solo exhibition, In the Eye’s Hold, from 3 February - 23 March 2024.
Osman Dinc’s (b.1948 ) practice sits at the crossroads between Minimalism and Arte Povera. A Turkish artist based in Paris, Dinc’s predominantly steel, glass and wooden sculptures intuitively evolve between time, space, humanity and cosmic contemplation, their abstraction allowing for them to remain untethered to any singular era or ideology.
The title of this current exhibition is representative of the photographs on show. These images, created using a drop of India Ink, resemble both the eye’s pupil and the black holes that are scattered across our universe, highlighting their similarity of form. Yet for Dinc, the connections between black holes in space and those of the pupil go further, venturing into the realm of science and the theoretical. All light that enters a black hole is absorbed, never to return, with even top scientists unable to identify where it goes. Likewise, when light initially enters the pupil of the eye, it disappears, its destination unclear.
Press release
Pi Artworks Istanbul is thrilled to present Osman Dinc’s solo exhibition, In the Eye’s Hold, from 3 February - 23 March 2024.
Osman Dinc’s (b.1948 ) practice sits at the crossroads between Minimalism and Arte Povera. A Turkish artist based in Paris, Dinc’s predominantly steel, glass and wooden sculptures intuitively evolve between time, space, humanity and cosmic contemplation, their abstraction allowing for them to remain untethered to any singular era or ideology.
The title of this current exhibition is representative of the photographs on show. These images, created using a drop of India Ink, resemble both the eye’s pupil and the black holes that are scattered across our universe, highlighting their similarity of form. Yet for Dinc, the connections between black holes in space and those of the pupil go further, venturing into the realm of science and the theoretical. All light that enters a black hole is absorbed, never to return, with even top scientists unable to identify where it goes. Likewise, when light initially enters the pupil of the eye, it disappears, its destination unclear.
“Of course, the light entering the eye is perceived as information, influencing and guiding our behaviors. According to some new theories, light entering a black hole plays a significant role in the formation of galaxies. Some scientists argue that the rays of light entering the black hole emerge in another dimension, in another universe, and come into existence.
In both cases, what is important is the metamorphosis and continuity of knowledge. An example: Hydrogen, the simplest atom, has known what to do since the creation of the universe and does not forget. And this knowledge is actually the only thing that is immortal.
As living beings, we have the ability to forget because we are not immortal. Therefore, my artworks can be considered archaeological studies of forgotten common emotions and knowledge. They are like objects and tools whose use is not tied to when and in which civilizations. They are figurative works that tell their own stories.”
Dinc’s practice is known for its ability to embody universal ideas, while emphasizing the need for sustainability and integrity of materiality, indeed, his sculptures are generally created with the least intervention possible to their raw material. Here, both Dinc’s photographs and sculptures embody the balance between the ready-made object and incredibly complex physical and emotional phenomena, their apparent simplicity acting as a mirror to our own ideas and contemporary associations.
Osman Dinc. Born in 1948, Bozkurt, Denizli Turkey.
Osman Dinc’s (b.1948 ) practice sits at the crossroads between Minimalism and Arte Povera. A Turkish artist based in Paris, Dinc’s predominantly steel, glass and wooden sculptures intuitively evolve between time, space, humanity and cosmic contemplation, their abstraction allowing for them to remain untethered to any singular era or ideology.
The title of this current exhibition is representative of the photographs on show. These images, created using a drop of India Ink, resemble both the eye’s pupil and the black holes that are scattered across our universe, highlighting their similarity of form. Yet for Dinc, the connections between black holes in space and those of the pupil go further, venturing into the realm of science and the theoretical. All light that enters a black hole is absorbed, never to return, with even top scientists unable to identify where it goes. Likewise, when light initially enters the pupil of the eye, it disappears, its destination unclear.
“Of course, the light entering the eye is perceived as information, influencing and guiding our behaviors. According to some new theories, light entering a black hole plays a significant role in the formation of galaxies. Some scientists argue that the rays of light entering the black hole emerge in another dimension, in another universe, and come into existence.
In both cases, what is important is the metamorphosis and continuity of knowledge. An example: Hydrogen, the simplest atom, has known what to do since the creation of the universe and does not forget. And this knowledge is actually the only thing that is immortal.
As living beings, we have the ability to forget because we are not immortal. Therefore, my artworks can be considered archaeological studies of forgotten common emotions and knowledge. They are like objects and tools whose use is not tied to when and in which civilizations. They are figurative works that tell their own stories.”
Osman Dinç
Châteauneuf-sur-Loire, France, Jan 2024
Dinc’s practice is known for its ability to embody universal ideas, while emphasizing the need for sustainability and integrity of materiality, indeed, his sculptures are generally created with the least intervention possible to their raw material. Here, both Dinc’s photographs and sculptures embody the balance between the ready-made object and incredibly complex physical and emotional phenomena, their apparent simplicity acting as a mirror to our own ideas and contemporary associations.
Osman Dinc. Born in 1948, Bozkurt, Denizli Turkey.
Living and working in Paris since 1977, he has been a lecturer at L’Ecole Nationale Superieure D’Art De Bourges’da between 1990-2011. Dinç still continues working on his art in Paris, Ankara and Chatauneuf-Sur-Loire.