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                                                                                         A Short Note on an Eminent Painter

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          Ferman Aydın, a noteworthy painter among the Turkish world of artists, was born in 1965 in the distant border-town of Ardahan, which touched Russian territory between the years 1921 and 1991. His life is a saga of movement from a rather obscure rural area to centers of big cities. He never lost himself in a crowded environment, and refused to become an individual of the “other” community. He adjusted himself to the complexity and the refinement of the considerably developed aspects of the big cities. He studied arts under the attention and care of the leading pioneers in Turkish painting. Refusing to become a mere emigrant in a modern metropolitan, he received an up-to-date education in good hands that enabled him to become an admirer of nature coupled with healthy links with his early background. There is also a saying in Turkish: You don’t really appreciate a place until you’ve left it. The dwellings that he later drew were not tall buildings or skyscrapers, but humble rural houses among colorful hills adorned with high-reaching trees.

                Consequently, according to him, reflection in artistic milieu ought to be radical; it should express both longing and wrath. Anger is sometimes sweeter than honey. He believes that when we consider “today” as the “only reality”, it is truly the accumulation of everything in the past. Moreover, an artist is the individual, in a way, re-made into a new living being under the harmonious bond between drawing and color. One may rephrase it as the combination of naturalism and modernism, or better, the adaptation of integrated nature and the complexity of modern living. In his case, untouched nature and Anatolia’s abundant heritage are parts of this balanced whole.

                This inherited environment enabled him to create hundreds of canvases that echoed where he was born, who guided him and what he saw in a life-time. He was initially a student, but later a co-worker of some outstanding trainers in arts in the leading cities of his country which enjoyed remarkable periods of world’s great civilizations. He carried his knowledge, skill and experience to several art associations, private studios for painters-to-be and to his own workshop.

                He held 16 private exhibitions and participated  in 36 mixed displays.  Understandably, he received sympathetic reviews when he held exhibitions abroad. Many products of his competence and labor are in the local and foreign collections.

                                                                                                                                             Prof. Dr. TÜRKKAYA ATAÖV