Piril Torgut

AEQUOR

In Chinese mythology there are references to ‘moonlight pearls’ that supposedly come from the eyes of female whales; this fact alone has pushed my practice towards investigating whale figures more than any other cetacean. The Great Whales also have naturally harmonious figures that work successfully with transparent surfaces. The paintings deal with documentation of paint texture that occur whilst painting with different sizes and shapes of brushes and palette knives; which somewhat correlates to the aesthetically pleasing movement whales seamlessly stage while swimming and singing for their own pleasure.

The fact that to-scale whale painting is not easy to be seen as a whole, further states the vast sizes of the Great Whales. It is scary, yet mesmerizing at the same time – just like seeing a live whale. It dominates the gallery space.

There is always two or more sides to a story. The art pieces have two sides. The ‘front’ that clearly shows the stretched plastic and the textured painting would represent the vibrant and positive way that we – humans – celebrate the lives of mammals living in the sea; the beautiful videos and photographs of The Great Whales that we see and appreciate on, social media platforms, where they all seem to be living in synchronized habitat. On the other hand, the ‘back’ side of all of the art pieces where the viewer can see the whole structure of the wooden frame – a solid structure, the truth, the reality that keeps the whole scheme together – and also, since the surface painted on is transparent, the ‘raw’ and unsealed base of the painting is visible. Consequently creating a mild shock and awareness on most viewers; leading people to think and question the meaning behind this sudden exposure. The two sides especially aim to confuse only various people, and is not expected of everyone to question these matters; only if they [the viewers] have the will or some level of understanding towards deep-sea could possibly relate.