The communication that is produced within the creator-object-spectator triangle, in order to arrive at an attribute that will ensure the continuation of creativity, as long as it becomes a different but coherent venture, achieves a more powerful depth of meaning. The transformation that we encounter in the work is the transformation of the communication, whereas the 'traces' that the work leaves are only as powerful as the communication itself. With every new work, the content that is already present within the mind of the spectator comes face to face with new content, and this is realized through the commands that the creator has hidden within his painting. Serkan Adın not only embraces thıs reality, but also emphasizes the digital connotations in the compositions of his latest work by exhibiting them under the title, "Save as..." Although it may appear that the relationship between figure and venue that we are accustomed to observing in Adın's works has been the victim of a conscious attempt to destroy it, the space now is presented to us as a clean surface, and is made to feel 'different.' In a composition which appears to be delineated solely by the movement of the figure, the venue consists of a large void, and no matter the extent to which this void is made to appear as a reconciliation, it creates a contradiction with the figure, transforming it into another area of conflict. Now the space has been released from its defining and conditioning influence, resorting to a perception that forces us to evaluate the figure on its own. The movement imprisoned within the figure and a still surface that resists tension, produces both an absence of space and a venue. While the parts of the figure that are periodically embedded in the surface support the fact that it is a part of this type of space, the figure sneakily flows into the surface, and the surface into the figure. But contrary to the free area into which the absence of venue has moved, with the color of 'skin' that is adamantly used, the symbol of woman that has become intertwined with the body and consequently arouses the idea of eroticism, thereby at least conditioning every spectator to evaluate the painting starting from the same point of origin. The consequence of this formal make up is the attempt to drive the spectator to consider an existing narrative under a different category, that is, to "Save as..." While questioning the attributes of the female figure, the associations with familiar symbolism, the accustomed emotional exploitation and the meanings that have been affixed to the female form, the attempt is being made to objectify the female figure through the use of the background or platform on which it has been placed.
Aysun Oran / Maya