-no.13-

This was the last of North.

The cycle itself was intended to be about ,,beginnings,,. Be it of life or journey. Relationship or anything else. Having finished -6 kilometers- all the things i felt were done good only pointed to what could have been done better. Failing to grasp the big-picture. Similar to taking a trip and sticking your head out of the speeding car, and when being asked about the sightseeing and everything you were supposed to see, all you remember is the smell of air when your head was out on that speedway and maybe the concrete and color of the gas-station or the way your girl had her hair in that museum but you cant remember anything else there. The paintings i do have a lot of matter relying on similar memories of things in life. It is beautiful taking notions on anything that lasts only for brief moment in time. Shorter it lasts more space it leaves for us to bring our own notions inside.To make the whole thing up. That is how i feel the memory works, making us different all together by different things of the same each will remember. So what i intended was to have all these image-bites or sequences of glorified ordinary memories which are not able to tell one story, rather hundred. These paintings, story wise, all go in different directions. And if you look at it as a journey, i will set the direction North.
More formally, -No.13- was referential to the -No.8-, which is also last painting from the -6 kilometers-. For -6 kilometers- i wanted heavy epic end. Initial idea was to have an -End Painting-. I imagined a theatrical play end, having all the actors holding hands in that moment in between bows. Other than ending metaphor, this was the case when something else happens which you don't quite expect. Painting got a life of its own, and took in charge. It turned out to be the perfect prelude to the -North- with the idea of children as protagonists and distorted memory of childhood as a subject matter. Other than above mentioned idea, as i was doing it, i had in mind 19th ct. children illustrations. What happened was kind of Norman Rockwell-Joseph Bueys-Christian Boltanski-tea time. With -No.13- i wanted the stage situation to be viewed from slightly different angle. As the whole -North- cycle was painterly treated differently than -6 kilometers-, the image needed to be depicted in a different way. The protagonists were replaced with one single kid set out to hold the entire image by himself. This was to enhance the epic or theatricality of the image.

-No.9-

This was the first painting in North cycle. It took around two and a half month to do it. Most adventurous thing was make this -plasma- wall in front of the boys. It was the idea of this line pattern that puzzled me ever since my school days and with this piece i wanted to give it a go. This pattern appears on other paintings of mine as well ( -No.7- from 6 Kilometers was the first where i did it), but what differs this one from the other is the layering process i applied. First, I made a pattern using only white laying lines in entire 360°. The given pattern in that stage was exactly like the one in No.12 behind the forest and the falling kid. And then I was to make a colour pattern on top of the white one, using diluted colours, so that the white pattern applied first could stay seen. This process would result with a visual result of a colored noise. I needed a surface that would be worth of curiosity felt by the kids staring.

The initial idea was to have a painting as the place of refuge. Where no man dwells but them kids. To have the image that breathes yearning desire.