ÖZGÜR IN ENGLISH
A glance at a Devabil Kara picture is as hesitant as one, which would be given to a special archeological site. Findings still covered with the dust of time, categorized, metal plates coded with sings lying under a veil of white, all seem to be waiting for the artist to finalize his work. …The limit of space within his paintings and the objects, traces and erasures locked into its borders and floating beyond, force one to take notice of the past as well as of the future. Objects put into an order of their own, faded traces as if dug out of a finding, seem to divide within themselves and multiply from emptiness into the future… The master Chinese painter Huang Pin-Hung once said that a canvas may be so full that even thin air could not breathe through it; But if within that fullness it has enough space for “horses to jump” then it is a work of art. The paintings of Devabil Kara feel of emptiness. The emptiness of a white universe on canvas and the silence that comes whit it; It is mot the pore emptiness masters of zen call “satori”… The symbolic metaphors the chair and the stairs, appearing more than once in the artist’s work, refer to the emptiness of a certain lifestyle. The chair symbolizes stability, trustworthiness, comfort and power and the stairs represent movement, “getting somewhere” and hierarchy. Both placed as ghosts within the canvas remind of the ephermerity or all things. …This archeological site slowly opens towards becoming a playground of the mind. Ironically a playground is a place which has its own physical limits but by definition denies all boundaries. It is a world with its own rules, with its own borders imposed on to the outer world. The playground is a micro-cosmos…
Özgür Uçkan Art Critic
