The digital work that I began in 2002 is an examination of the importance of different methods in contemporary art. They are the products of a formation geared towards ensuring the successful graft of a new branch of experimental methodology in the plastic arts . What a pity that this method has been used incorrectly and inadequately in contemporary Turkish art! As a consequence, during the entire process it has become the target of certain rigid opinions that seek to protect their own narrow powers, rejecting and undervaluing the possibility of the existence of different and polyphonic works. This type of work has been dismissed and ignored by its critics and the result of this narrow viewpoint has permitted the construction of a barrier to the perception of other digital and experimental production. Under these circumstances, it becomes even more crucial to ensure that work in the area of experimental methodology be embraced like a code of conduct alongside one’s existing production in order to prevent this polyphony from being ignored. Otherwise these superficial skirmishes designed to develop oppositional points of view will deprive us of the new and powerful resources of developing technology in all artistic arenas, preventing in the final analysis the opportunity to gain a clear and open understanding of its possibilities. Alongside my painting and three-dimensional production, the digital projects in which I have become increasingly and intensively involved are in fact my personal response to the attempt to impose such restrictions. This work is one result of my attempts to create my creativity by setting it free to be able to include the power of cinema, sculpture, painting, photography and digital printing to express an idea and incorporate it in a multilingual and harmonious structure. There exists a rather perverted perception that computer technology somehow dominates the arena of perceptive reality. In other words, that these technologies are the plastic arts equivalent of the energy of the wrist. To my mind, it is a rather utopic approach to believe that somehow they are intent on taking over human production. As my counter-response to this widespread perception I make use of the results of my modifications to digital instruments. My attitude restricts me even further within this narrow domain, reinforcing the importance of personal solutions and supporting the development of creative and original ideas.
The viewpoints that I embrace and the results of my work have led me to the belief that it is a fundamental principle that none of my printed works be reprinted in any manner whatsoever. This encompasses the necessity to prevent the possibility of multiple printing that is characteristic of print technology and to preserve the quality of ‘individual production’ that exists in the art of painting. It is my belief that this attitude is necessary in order to ensure that the art of digital printing can be exhibited, observed and retain a permanent value. My efforts are directed towards encouraging new mechanisms of criticism that will be able to effectively evaluate the place and methods of digital techniques in the plastic arts, to contribute to an understanding of the importance of the development of platforms of exhibition for digital production, and to play an effective role in opening the way to acceptance of the need for intellect and discovery in contemporary art. In this I struggle and persist.
Ansen Atilla