{"id":2217,"date":"2026-03-17T06:32:35","date_gmt":"2026-03-17T06:32:35","guid":{"rendered":"https:\/\/arttao.net\/?page_id=2217"},"modified":"2026-03-17T06:32:36","modified_gmt":"2026-03-17T06:32:36","slug":"f2-27-osi-audunun-calisma-analizi","status":"publish","type":"page","link":"https:\/\/arttao.net\/tr\/f2-27-osi-audu%e4%bd%9c%e5%93%81%e5%88%86%e6%9e%90\/","title":{"rendered":"F2-27&#039;nin analizi. Osi Audu&#039;nun \u00e7al\u0131\u015fmas\u0131."},"content":{"rendered":"<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1000\" height=\"799\" src=\"https:\/\/arttao.net\/wp-content\/uploads\/2026\/03\/osi-audu-self-portrait-with-yoruba-hairstyle.jpg\" alt=\"\" class=\"wp-image-2021\" srcset=\"https:\/\/arttao.net\/wp-content\/uploads\/2026\/03\/osi-audu-self-portrait-with-yoruba-hairstyle.jpg 1000w, https:\/\/arttao.net\/wp-content\/uploads\/2026\/03\/osi-audu-self-portrait-with-yoruba-hairstyle-600x479.jpg 600w, https:\/\/arttao.net\/wp-content\/uploads\/2026\/03\/osi-audu-self-portrait-with-yoruba-hairstyle-300x240.jpg 300w, https:\/\/arttao.net\/wp-content\/uploads\/2026\/03\/osi-audu-self-portrait-with-yoruba-hairstyle-768x614.jpg 768w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Bu eser<strong>Boyal\u0131 \u00e7elik heykel<\/strong>Yakla\u015f\u0131k olarak <strong>15 \u00d7 16 \u00d7 13\u00be in\u00e7<\/strong>Ve s\u0131n\u0131rl\u0131 say\u0131da \u00fcretilmi\u015ftir; bu arada, son &quot;Otoportre&quot; serisi, &quot;somut ve soyut&quot;, &quot;beden ve zihin&quot; ve &quot;benlik ve bilin\u00e7&quot; aras\u0131ndaki ili\u015fkiler etraf\u0131nda d\u00f6nmeye devam ediyor ve heykeller bu kavramlardan yola \u00e7\u0131kan \u00fc\u00e7 boyutlu uygulamalard\u0131r.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Bu \u00e7al\u0131\u015fmay\u0131 &quot;a\u00e7\u0131k mod\u00fcller&quot; \u00e7er\u00e7evesinde ele al\u0131rsak, en belirgin \u00f6zelli\u011fi &quot;bir ba\u015fa benzeyip benzemedi\u011fi&quot; de\u011fil, daha ziyade nas\u0131l bir yap\u0131ya sahip oldu\u011fudur...<strong>\u0130\u00e7i bo\u015f, n\u00fcfuz eden, a\u00e7\u0131kta kalan s\u0131n\u0131rlar ve yap\u0131sal bo\u015fluklar<\/strong>Audu, sanat\u00e7\u0131 a\u00e7\u0131klamas\u0131nda &quot;somut ve soyut&quot;a, yani somut ve soyut, g\u00f6r\u00fcn\u00fcr ve g\u00f6r\u00fcnmez aras\u0131ndaki ili\u015fkiye olan uzun s\u00fcreli ilgisinden bahseder; Artsy&#039;nin sanat\u00e7\u0131 profili ayr\u0131ca &quot;form ve bo\u015fluk&quot;, &quot;bir \u015fey ve hi\u00e7bir \u015fey&quot; ve &quot;d\u0131\u015f kafa ve i\u00e7 kafa&quot; gibi ikili kavramlarla tekrar tekrar ilgilendi\u011fini belirtir. \u0130\u015fte bu ba\u011flamda, *\u00d6z Portre 2*&#039;deki a\u00e7\u0131k \u00e7elik yap\u0131 sadece bir form se\u00e7imi de\u011fil, kavram\u0131n kendisi haline gelir: &quot;Kafa&quot;y\u0131 kapal\u0131 bir varl\u0131k yapmaz, aksine &quot;kafa&quot;n\u0131n d\u0131\u015f hatlar\u0131n\u0131n, bo\u015flu\u011funun ve i\u00e7 mekan\u0131n\u0131n eseri birlikte olu\u015fturmas\u0131na olanak tan\u0131r.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Bu \u00e7al\u0131\u015fman\u0131n en dikkat \u00e7ekici y\u00f6n\u00fc, &quot;mod\u00fcller&quot; kavram\u0131n\u0131 ele al\u0131\u015f bi\u00e7imidir...<strong>A\u00e7\u0131k \u00e7er\u00e7eve birimi<\/strong>Sanat\u00e7\u0131n\u0131n resmi internet sitesi, Otoportre serisini ele al\u0131rken, MoMA k\u00fcrat\u00f6r\u00fc Ugochukwu-Smooth C. Nzewi&#039;nin bu eserlerin &quot;farkl\u0131 par\u00e7alardan olu\u015fan, ancak beyaz \u00e7izgilerle kusursuz bir \u015fekilde birbirine ba\u011flanan&quot; &quot;mimari hacimlerden&quot; olu\u015ftu\u011fu y\u00f6n\u00fcndeki de\u011ferlendirmesine at\u0131fta bulunuyor. Bu de\u011ferlendirme, \u00f6zellikle *Otoportre 2*&#039;yi anlamak i\u00e7in uygundur: eser tek bir d\u00f6k\u00fcm blok de\u011fil, daha ziyade \u00e7e\u015fitli k\u0131vr\u0131mlar, b\u00f6l\u00fcmler, \u00e7er\u00e7eveler, paneller ve ba\u011flant\u0131 \u00e7izgilerinden olu\u015fan bir yap\u0131d\u0131r. Par\u00e7alar a\u00e7\u0131k\u00e7a ayr\u0131lm\u0131\u015f olsa da genel s\u00fcreklili\u011fi korur; bu nedenle buradaki &quot;a\u00e7\u0131k mod\u00fcller&quot; sadece oyulmu\u015f alanlar de\u011fil, daha ziyade...<strong>Kafa g\u00f6r\u00fcnt\u00fcs\u00fcn\u00fcn tamam\u0131, birden fazla yerel bile\u015fenin i\u015f birli\u011fiyle olu\u015fturulur.<\/strong>\u3002<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Bi\u00e7imsel dil a\u00e7\u0131s\u0131ndan bak\u0131ld\u0131\u011f\u0131nda, Audu&#039;nun dehas\u0131, &quot;y\u00fcz\u00fc&quot; veya &quot;\u00f6zellikleri&quot; betimlemek i\u00e7in karma\u015f\u0131k ayr\u0131nt\u0131lar kullanmaktan ka\u00e7\u0131nmas\u0131nda, bunun yerine &quot;benli\u011fin&quot; varl\u0131\u011f\u0131n\u0131 ima etmek i\u00e7in minimalist geometrik ili\u015fkiler kullanmas\u0131nda yatmaktad\u0131r. Hem sanat\u00e7\u0131n\u0131n resmi web sitesi hem de Artsy, odak noktas\u0131n\u0131n ger\u00e7ek bir otoportre de\u011fil, &quot;soyut benlik&quot;\u2014g\u00f6r\u00fcnmez, i\u00e7sel benlik\u2014oldu\u011funu vurgulamaktad\u0131r. Bu, *Otoportre 2*&#039;nin a\u00e7\u0131k yap\u0131s\u0131na daha derin bir anlam kazand\u0131r\u0131r: bo\u015fluklar yokluk de\u011fil, &quot;i\u00e7sel benli\u011fin&quot; konumudur; d\u0131\u015f \u00e7er\u00e7eve bir taslak de\u011fil, ge\u00e7ici olarak tezah\u00fcr eden bilincin kenar\u0131d\u0131r. \u0130zleyiciler, eserle kar\u015f\u0131la\u015ft\u0131klar\u0131nda sadece bir kafa de\u011fil, ayn\u0131 zamanda somutluk ve bo\u015fluk aras\u0131nda sal\u0131nan bir &quot;bilin\u00e7 kab\u0131&quot; alg\u0131larlar.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Dolay\u0131s\u0131yla, bu \u00e7al\u0131\u015fmadaki &quot;a\u00e7\u0131k mod\u00fcller&quot;in ilham kayna\u011f\u0131 olduk\u00e7a a\u00e7\u0131k. Geleneksel heykel genellikle kat\u0131 hacim arac\u0131l\u0131\u011f\u0131yla bir a\u011f\u0131rl\u0131k hissi yarat\u0131r, ancak Osi Audu &quot;Otoportre 2&quot;de bunun tam tersini yap\u0131yor: yap\u0131n\u0131n g\u00fcc\u00fcn\u00fcn...<strong>A\u00e7\u0131k s\u0131n\u0131rlar, bo\u015f i\u00e7 mekanlar, bile\u015fenler aras\u0131ndaki ba\u011flant\u0131lar ve ask\u0131 sistemleri<\/strong>Bu yakla\u015f\u0131m, eseri hem bir heykele hem de bir d\u00fc\u015f\u00fcnce \u00e7er\u00e7evesine benzetiyor. Amac\u0131 mekan\u0131 doldurmak de\u011fil, mekan\u0131n esere girmesine ve i\u00e7eri\u011finin bir par\u00e7as\u0131 olmas\u0131na izin vermektir. Tam da bu nedenle, bu a\u00e7\u0131k mod\u00fcller kapal\u0131 bloklardan daha \u00e7ok &quot;bilin\u00e7&quot; durumuna yak\u0131nd\u0131r: g\u00f6r\u00fcn\u00fcr, ancak tamamen kavranamaz; somut, ancak her zaman g\u00f6r\u00fcnmez k\u0131s\u0131mlar\u0131n\u0131 korur.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Osi Audu&#039;nun genel yarat\u0131c\u0131 yolculu\u011fu a\u00e7\u0131s\u0131ndan bak\u0131ld\u0131\u011f\u0131nda, bu heykel izole bir eser de\u011fildir. Resmi web sitesinde a\u00e7\u0131k\u00e7a belirtildi\u011fi gibi, resimleri, ka\u011f\u0131t \u00fczerine \u00e7al\u0131\u015fmalar\u0131, iplik \u00e7al\u0131\u015fmalar\u0131 ve \u00e7elik heykellerinin tamam\u0131 ayn\u0131 sorular etraf\u0131nda d\u00f6nmektedir: bilin\u00e7, kimlik, zihin-beden ikili\u011fi ve benlik ile k\u00fclt\u00fcrel nesneler aras\u0131ndaki ili\u015fki; heykel ise &quot;Maskeli Kafa&quot; serisinde kulland\u0131\u011f\u0131 siyah, beyaz ve tek vurgu renginden geli\u015ftirilmi\u015f \u00fc\u00e7 boyutlu bir versiyondur. Ba\u015fka bir deyi\u015fle, *Otoportre 2*, d\u00fczlemsel geometrik dilinin mek\u00e2nsal yap\u0131ya do\u011fal bir uzant\u0131s\u0131d\u0131r. Ba\u015flang\u0131\u00e7ta ka\u011f\u0131t \u00fczerinde siyah y\u00fczeyler, beyaz \u00e7izgiler, konturlar ve bo\u015fluklar arac\u0131l\u0131\u011f\u0131yla kurulan ili\u015fkiler burada ger\u00e7ek bir \u00e7elik yap\u0131ya, ger\u00e7ek s\u0131n\u0131rlara ve ger\u00e7ek mek\u00e2nsal n\u00fcfuza d\u00f6n\u00fc\u015ft\u00fcr\u00fclm\u00fc\u015ft\u00fcr.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Konuyu &quot;mod\u00fcller&quot; perspektifinden daha da ele alacak olursak, *Self Portrait 2*, hem \u015fu \u00f6zelliklere sahip olmas\u0131 nedeniyle a\u00e7\u0131k mod\u00fcllerin \u00f6zellikle uygun bir temsilcisidir...<strong>Bile\u015fenlerin tekrarlanma potansiyeli<\/strong>Ve bu eser korunmu\u015ftur.<strong>Tek bir eserin manevi yo\u011funlu\u011fu<\/strong>Boyal\u0131 \u00e7elik malzeme, eserin kendine \u00f6zg\u00fc end\u00fcstriyel, montaj benzeri ve geni\u015fletilebilir do\u011fas\u0131n\u0131 vurgular. Bununla birlikte, eser so\u011fuk ve ki\u015fisel olmayan bir end\u00fcstriyel bile\u015fen olmaktan ka\u00e7\u0131narak, s\u00fcrekli olarak &quot;kafa&quot;, &quot;bilin\u00e7&quot; ve &quot;benlik&quot; gibi son derece insanc\u0131l temalara i\u015faret eder. Dolay\u0131s\u0131yla, buradaki a\u00e7\u0131k mod\u00fcl ne tamamen teknik bir yap\u0131 ne de sadece lirik bir heykeldir; aksine, geometrik soyutlamay\u0131, mek\u00e2nsal organizasyonu ve kimlik yans\u0131mas\u0131n\u0131 birbirine ba\u011flayan arac\u0131 bir mekanizmad\u0131r.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Bu nedenle, Osi Audu&#039;yu &quot;a\u00e7\u0131k mod\u00fcller&quot; yap\u0131sal t\u00fcr\u00fc i\u00e7ine yerle\u015ftirirsek, *\u00d6z Portre 2*&#039;nin en \u00f6nemli anlam\u0131, a\u00e7\u0131k yap\u0131lar\u0131n yaln\u0131zca bi\u00e7imsel d\u00fczene hizmet etmekle kalmay\u0131p ayn\u0131 zamanda psikolojik ve felsefi i\u00e7erik de ta\u015f\u0131yabilece\u011fini g\u00f6stermesinde yatmaktad\u0131r. Buradaki mod\u00fcl, mekanik tekrar i\u00e7in de\u011fil, &quot;benli\u011fin&quot; kapal\u0131 olmayan, sabit olmayan ve ge\u00e7irgen bir \u015fekilde ortaya \u00e7\u0131kmas\u0131na izin vermek i\u00e7indir. Bize, a\u00e7\u0131k mod\u00fcllerin ger\u00e7ekten geli\u015fmi\u015f halinin hacmi bo\u015faltmakla ilgili olmad\u0131\u011f\u0131n\u0131, aksine izin vermekle ilgili oldu\u011funu hat\u0131rlat\u0131r\u2026<strong>Bo\u015fluk, s\u0131n\u0131r, ba\u011flant\u0131, n\u00fcfuz ve kavram<\/strong>Birlikte, eserin yap\u0131s\u0131n\u0131 olu\u015ftururlar. Osi Audu&#039;nun bu eserde ba\u015fard\u0131\u011f\u0131 \u015fey, a\u00e7\u0131k mod\u00fcl\u00fc geometrik bir formdan bilin\u00e7 ve varolu\u015fla ilgili heykelsi bir dile d\u00f6n\u00fc\u015ft\u00fcrmektir.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full is-resized has-custom-border\"><img loading=\"lazy\" decoding=\"async\" width=\"480\" height=\"480\" src=\"https:\/\/arttao.net\/wp-content\/uploads\/2026\/02\/art150.gif\" alt=\"\" class=\"wp-image-1068\" style=\"border-top-left-radius:37px;border-top-right-radius:37px;border-bottom-left-radius:37px;border-bottom-right-radius:37px;width:63px;height:auto\"\/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">\r\n        <div class=\"arttao-tts-wrap\" data-selector=\".entry-content p, .entry-content li, .arttao-tts-source-content p\" style=\"margin:12px 0;\">\r\n          <audio id=\"arttao-tts-audio\" controls preload=\"none\" style=\"width:100%; max-width:800px;\"><\/audio>\r\n          <div id=\"arttao-tts-status\" style=\"font-size:13px; margin-top:6px; color:#F7FFFF;\"><\/div>\r\n        <\/div>\r\n        <details class=\"arttao-tts-accordion\" style=\"margin: 20px 0;\">\r\n            <summary>Ders F2-27: Osi Audu&#039;nun Eserlerinin Analizi (Okumay\u0131 g\u00f6r\u00fcnt\u00fclemek ve dinlemek i\u00e7in t\u0131klay\u0131n)<\/summary>\r\n            <div class=\"arttao-tts-source-content\">\r\n                <\/p>\n<p class=\"wp-block-paragraph\">Bu boyal\u0131 \u00e7elik heykel yakla\u015f\u0131k 15 \u00d7 16 \u00d7 13\u00be in\u00e7 \u00f6l\u00e7\u00fclerindedir ve s\u0131n\u0131rl\u0131 say\u0131da \u00fcretilmi\u015ftir. Sanat\u00e7\u0131n\u0131n son &quot;Otoportre&quot; serisi, somut ve soyut, beden ve zihin, benlik ve bilin\u00e7 aras\u0131ndaki ili\u015fkileri ke\u015ffetmeye devam etmektedir; heykelin kendisi de bu kavramlardan yola \u00e7\u0131kan \u00fc\u00e7 boyutlu bir uygulamad\u0131r. Bu \u00e7al\u0131\u015fmay\u0131 &quot;a\u00e7\u0131k mod\u00fcller&quot; \u00e7er\u00e7evesinde anlarsak, en belirgin \u00f6zelli\u011fi &quot;bir kafaya benzeyip benzemedi\u011fi&quot; de\u011fil, bo\u015fluk, ge\u00e7irgenlik, a\u00e7\u0131kta kalan s\u0131n\u0131rlar ve yap\u0131sal bo\u015fluk yoluyla nas\u0131l kuruldu\u011fudur. Audu, sanat\u00e7\u0131 a\u00e7\u0131klamas\u0131nda uzun zamand\u0131r &quot;somut ve soyut&quot;, yani somut ve soyut, g\u00f6r\u00fcn\u00fcr ve g\u00f6r\u00fcnmez aras\u0131ndaki ili\u015fkiyle ilgilendi\u011fini belirtir; Artsy&#039;nin sanat\u00e7\u0131 biyografisi ayr\u0131ca &quot;form ve bo\u015fluk&quot;, &quot;bir \u015fey ve hi\u00e7bir \u015fey&quot; ve &quot;d\u0131\u015f kafa ve i\u00e7 kafa&quot; gibi ikili kavramlarla tekrar tekrar ilgilendi\u011fini vurgular. \u0130\u015fte bu ba\u011flamda, *Otoportre 2*&#039;deki a\u00e7\u0131k \u00e7elik yap\u0131 sadece bir bi\u00e7im se\u00e7imi de\u011fil, kavram\u0131n kendisi haline geliyor: &quot;ba\u015f\u0131&quot; kapal\u0131 bir varl\u0131k yapm\u0131yor, aksine &quot;ba\u015f\u0131n&quot; d\u0131\u015f hatlar\u0131n\u0131n, bo\u015flu\u011funun ve i\u00e7 mekan\u0131n\u0131n eseri birlikte olu\u015fturmas\u0131na olanak tan\u0131yor. Bu eserin en dikkat \u00e7ekici y\u00f6n\u00fc, &quot;mod\u00fclleri&quot; a\u00e7\u0131k \u00e7er\u00e7eve birimleri olarak ele almas\u0131d\u0131r. Sanat\u00e7\u0131n\u0131n resmi web sitesi, Otoportre serisini tart\u0131\u015f\u0131rken, MoMA k\u00fcrat\u00f6r\u00fc Ugochukwu-Smooth C. Nzewi&#039;nin bu eserleri &quot;farkl\u0131 par\u00e7alardan olu\u015fan, ancak beyaz \u00e7izgilerle kusursuz bir \u015fekilde birbirine ba\u011flanan&quot; &quot;mimari hacimler&quot; olarak tan\u0131mlad\u0131\u011f\u0131n\u0131 aktar\u0131yor. Bu de\u011ferlendirme, *Otoportre 2*&#039;yi anlamak i\u00e7in olduk\u00e7a uygundur: eser tek bir d\u00f6k\u00fcm blok de\u011fil, daha ziyade birka\u00e7 katlama, b\u00f6lme, \u00e7er\u00e7eve, panel ve ba\u011flant\u0131 \u00e7izgisinden olu\u015fan bir yap\u0131d\u0131r. Par\u00e7alar a\u00e7\u0131k\u00e7a ayr\u0131lm\u0131\u015f olsa da genel s\u00fcreklili\u011fi korur; bu nedenle, buradaki &quot;a\u00e7\u0131k mod\u00fcller&quot; sadece oyulmu\u015f \u015fekiller de\u011fil, aksine bir ba\u015f\u0131n genel g\u00f6r\u00fcnt\u00fcs\u00fcn\u00fc birlikte olu\u015fturan \u00e7oklu yerel bile\u015fenlerdir. Bi\u00e7imsel dil a\u00e7\u0131s\u0131ndan bak\u0131ld\u0131\u011f\u0131nda, Audu&#039;nun dehas\u0131, &quot;y\u00fcz\u00fc&quot; veya &quot;\u00f6zellikleri&quot; tan\u0131mlamak i\u00e7in karma\u015f\u0131k ayr\u0131nt\u0131lar kullanmaktan ka\u00e7\u0131nmas\u0131nda, bunun yerine &quot;benli\u011fin&quot; varl\u0131\u011f\u0131n\u0131 ima etmek i\u00e7in minimalist geometrik ili\u015fkiler kullanmas\u0131nda yatmaktad\u0131r. Hem sanat\u00e7\u0131n\u0131n resmi web sitesi hem de Artsy, onun ger\u00e7ek bir otoportreye de\u011fil, &quot;soyut benli\u011fe&quot;, g\u00f6r\u00fcnmez, i\u00e7sel benli\u011fe odakland\u0131\u011f\u0131n\u0131 vurgulamaktad\u0131r. Bu, *Otoportre 2*&#039;nin a\u00e7\u0131k yap\u0131s\u0131na daha derin bir anlam kazand\u0131r\u0131r: bo\u015fluklar yokluk de\u011fil, &quot;i\u00e7sel benli\u011fin&quot; konumudur; d\u0131\u015f \u00e7er\u00e7eve bir taslak de\u011fil, bilincin ge\u00e7ici olarak tezah\u00fcr etti\u011fi bir kenar gibidir. \u0130zleyiciler esere bakt\u0131klar\u0131nda, sadece bir portre de\u011fil, fiziksel ve bo\u015fluk aras\u0131nda sal\u0131nan bir &quot;bilin\u00e7 kab\u0131&quot; okurlar. Bu nedenle, bu eser a\u00e7\u0131k\u00e7a &quot;a\u00e7\u0131k mod\u00fcller&quot; kavram\u0131na ilham vermektedir. Geleneksel heykel genellikle hacim yoluyla bir a\u011f\u0131rl\u0131k hissi yarat\u0131r, ancak Osi Audu *Otoportre 2* adl\u0131 eserinde bunun tam tersini yapar: yap\u0131sal g\u00fcc\u00fcn s\u0131n\u0131rlar\u0131n a\u00e7\u0131kl\u0131\u011f\u0131ndan, i\u00e7indeki bo\u015fluktan ve bile\u015fenler aras\u0131ndaki ba\u011flant\u0131 ve ask\u0131da kalma durumundan gelmesine izin verir. Bu yakla\u015f\u0131m, eseri hem bir heykel hem de bir d\u00fc\u015f\u00fcnce \u00e7er\u00e7evesi haline getirir. Mek\u00e2n\u0131 doldurmay\u0131 de\u011fil, mek\u00e2n\u0131n esere girmesine ve i\u00e7eri\u011finin bir par\u00e7as\u0131 olmas\u0131na izin vermeyi ama\u00e7lar. \u0130\u015fte tam da bu nedenle bu t\u00fcr a\u00e7\u0131k mod\u00fcller, kapal\u0131 bloklardan daha \u00e7ok &quot;bilin\u00e7&quot; durumuna yak\u0131nd\u0131r: g\u00f6r\u00fcn\u00fcr, ancak tamamen kavranamaz; somut, ancak her zaman g\u00f6r\u00fcnmez par\u00e7alar\u0131 korur. Osi Audu&#039;nun genel yarat\u0131c\u0131 yolculu\u011fundan bak\u0131ld\u0131\u011f\u0131nda, bu heykel izole bir eser de\u011fildir. Resmi web sitesinde, resimlerinin, ka\u011f\u0131t \u00fczerine \u00e7al\u0131\u015fmalar\u0131n\u0131n, iplik \u00e7al\u0131\u015fmalar\u0131n\u0131n ve \u00e7elik heykellerinin hepsinin ayn\u0131 soru k\u00fcmesi etraf\u0131nda d\u00f6nd\u00fc\u011f\u00fc a\u00e7\u0131k\u00e7a belirtilmi\u015ftir: bilin\u00e7, kimlik, zihin-beden ikili\u011fi ve benlik ile k\u00fclt\u00fcrel nesneler aras\u0131ndaki ili\u015fki; heykel ise a\u00e7\u0131k\u00e7a &quot;Maskeli Kafa&quot; serisinde kulland\u0131\u011f\u0131 siyah, beyaz ve tek vurgu renginden geli\u015ftirilmi\u015f \u00fc\u00e7 boyutlu bir versiyondur. Ba\u015fka bir deyi\u015fle, *Otoportre 2*, d\u00fczlemsel geometrik dilinin mek\u00e2nsal yap\u0131ya do\u011fal bir uzant\u0131s\u0131d\u0131r. Ba\u015flang\u0131\u00e7ta ka\u011f\u0131t \u00fczerinde siyah y\u00fczeyler, beyaz \u00e7izgiler, konturlar ve bo\u015fluklar arac\u0131l\u0131\u011f\u0131yla kurulan ili\u015fkiler, burada ger\u00e7ek bir \u00e7elik yap\u0131ya, ger\u00e7ek s\u0131n\u0131rlara ve ger\u00e7ek mek\u00e2nsal n\u00fcfuza d\u00f6n\u00fc\u015ft\u00fcr\u00fclm\u00fc\u015ft\u00fcr. Dahas\u0131, bir &quot;mod\u00fcl&quot; perspektifinden bak\u0131ld\u0131\u011f\u0131nda, *Otoportre 2*, tek bir eserin ruhsal yo\u011funlu\u011funu korurken bile\u015fenleri tekrarlama potansiyeline sahip oldu\u011fu i\u00e7in a\u00e7\u0131k mod\u00fcllerin temsilcisi olarak \u00f6zellikle uygundur. Boyal\u0131 \u00e7elik malzeme, a\u00e7\u0131k bir end\u00fcstriyel, montaj benzeri ve geni\u015fletilebilir niteli\u011fi ifade eder, ancak eser so\u011fuk, ki\u015fisel olmayan bir end\u00fcstriyel bile\u015fen olmaktan ka\u00e7\u0131n\u0131r ve s\u00fcrekli olarak &quot;kafa&quot;, &quot;bilin\u00e7&quot; ve &quot;benlik&quot; gibi son derece insanc\u0131l temalara i\u015faret eder. Dolay\u0131s\u0131yla, buradaki a\u00e7\u0131k mod\u00fcl ne tamamen teknik bir yap\u0131 ne de sadece lirik bir heykeldir, aksine geometrik soyutlamay\u0131, mek\u00e2nsal organizasyonu ve kimlik yans\u0131mas\u0131n\u0131 birbirine ba\u011flayan bir arac\u0131 mekanizmad\u0131r. Bu nedenle, Osi Audu &quot;a\u00e7\u0131k mod\u00fcl&quot; yap\u0131sal tipine yerle\u015ftirilirse, *\u00d6z Portre 2*&#039;nin en \u00f6nemli anlam\u0131, a\u00e7\u0131k yap\u0131lar\u0131n yaln\u0131zca bi\u00e7imsel d\u00fczene hizmet etmekle kalmay\u0131p ayn\u0131 zamanda psikolojik ve felsefi i\u00e7erik de ta\u015f\u0131yabilece\u011fini g\u00f6stermesinde yatmaktad\u0131r. Buradaki mod\u00fcl, mekanik tekrar i\u00e7in de\u011fil, &quot;benli\u011fin&quot; kapal\u0131 olmayan, sabit olmayan ve ge\u00e7irgen bir \u015fekilde ortaya \u00e7\u0131kmas\u0131na izin vermek i\u00e7indir. Bize, a\u00e7\u0131k mod\u00fcl\u00fcn ger\u00e7ekten geli\u015fmi\u015f halinin hacmi bo\u015faltmakla ilgili olmad\u0131\u011f\u0131n\u0131, aksine bo\u015flu\u011fun, s\u0131n\u0131rlar\u0131n, ba\u011flant\u0131lar\u0131n, ge\u00e7irgenli\u011fin ve kavramlar\u0131n eserin yap\u0131s\u0131 haline gelmesine izin vermekle ilgili oldu\u011funu hat\u0131rlat\u0131r. Osi Audu&#039;nun bu eserde ba\u015fard\u0131\u011f\u0131 \u015fey, a\u00e7\u0131k mod\u00fcl\u00fc geometrik bir formdan bilin\u00e7 ve varolu\u015fla ilgili heykelsi bir dile d\u00f6n\u00fc\u015ft\u00fcrmektir. <\/p>\n<p class=\"wp-block-paragraph\">\n\r\n            <\/div>\r\n        <\/details><\/p>","protected":false},"excerpt":{"rendered":"<p>\u8fd9\u4ef6\u4f5c\u54c1\u4e3a\u55b7\u6f06\u94a2\u6750\u96d5\u5851\uff0c\u5c3a\u5bf8\u7ea6 15 \u00d7 16 \u00d7 13\u00be \u82f1\u5bf8\uff0c\u5e76\u4ee5\u9650\u91cf\u7248\u5f62\u5f0f\u5448\u73b0\uff1b\u540c\u65f6\uff0c\u4ed6\u8fd1\u5e74\u7684\u201cSelf [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-2217","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/arttao.net\/tr\/wp-json\/wp\/v2\/pages\/2217","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/arttao.net\/tr\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/arttao.net\/tr\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/arttao.net\/tr\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/arttao.net\/tr\/wp-json\/wp\/v2\/comments?post=2217"}],"version-history":[{"count":1,"href":"https:\/\/arttao.net\/tr\/wp-json\/wp\/v2\/pages\/2217\/revisions"}],"predecessor-version":[{"id":2218,"href":"https:\/\/arttao.net\/tr\/wp-json\/wp\/v2\/pages\/2217\/revisions\/2218"}],"wp:attachment":[{"href":"https:\/\/arttao.net\/tr\/wp-json\/wp\/v2\/media?parent=2217"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}