Laurence Gomez

Artist's Statement

My goal was to explore the vibrancy of painting and to incorporate the immediacy of drawing. By experimenting with nontraditional artists' materials, industrial paints and tools, I found the medium that would allow that duality, and the ability to draw with and through paint. For the mark making, I used a large screwdriver or the end of a paintbrush to scratch through the wet layer of paint down to the lower dry level. Contending with a drying time of the paint versus creating a regular drawing with no set period was an interesting challenge. Working quickly and efficiently in intense sessions became an important part of the process. The image would change as I worked, and the paint continued to evolve as it puddled, swelled, contracted, and dried. Another factor was that almost all marks, from first to last, were evident in the piece.

I've been investigating this scratch process since the end of 1996 and it has progressed from my first explorations. In the early works, I worked on a wet surface and drew into it. This current series o f work has less preconceived notions as to an end result. They remain figurative images, but immediacy and mark making are more important, and I have incorporated textual references. I have also widened my use of materials: oil sticks, litho crayon, latex and oil-based enamels.

I find inspiration throughout the City and carry a sketch pad to capture a pose or an idea when I'm on the subway or bus or at work. I am fascinated by people and their endless diversity, and am interested in the role that an artist plays in documenting them. The impressions of a moment in time, a place, or an emotion become the driving force behind a piece.

GULSUN ERBIL

" BiCiK in Mucbik "

curated by Robert M. Montoya
September 5-25, 2001

She started her art experiences two dimensionally and has developed into installations, motivated by the knowledge of the actions of knitting, sewing and textiles. In the last 2 years she has developed a mode-codistic performance concept, performances that have undertaken a subliminal content. Her recent installations engage her understanding of movement, a full spectrum helixism as a Modern Industry, in that sense the conclusion, has become more powerful.

Since 1978 Gulsun Erbil's artwork's subject has always been mysticism. She studied Sufism privately and became a semazen (turner) in 1990. Gulsun Erbil tries to express in her art the transcendent union between Man and GOD. There is no duality of human and divine reality. ALL is ONE because ONE is ALL. She is trying to find a synthesis of the physical and the metaphysical realities of existence with a unique language to express her inner enlightenment. It's a state of wholeness in art and being. Idealism for Gulsun Erbil is not based on human predicament, nor on a society caught in an economic identity, but has a Utopian prediliction of a society, communicating creative ideas, both practical and visionary, an ever forward vision setting people into polemic arguments.

A Literary, Philosophic mentor throughout her life has been the 13th Century Poet, Mevlana Celaluddin Rumi. In conjunction with the social activities of large Eastern and Western metropolitan cities, life has brought a cosmopolitan aesthetic to the art work, cutting edge in its unpredictable ontological content. Gulsun Erbil was included in 'Harlem Celebrates Performance' at GALLERY M, Harlem, New York with her performance 'People Loves People', August 18, 2001. Fire Patrol No 5 Art, New York City hosted her Performance 'BODYMORTE' August 15, 2001. Her 'Statue of Liberty' Performance took place at the Sculpture Project, Peninsula Park, Jersey City, New Jersey curated by Robert Costa,2000. Gallery X exhibited her Installation, 'Unity is Strength, For Rights',2000. She will be included in the Group Exhibition 'BOGAZ BIR' at GaleriX, Istanbul, Turkiye. October 7-December 7,2001.

"BiCik in Mucbik" by Gulsun Erbil, text by Robert M. Montoya, a catalogue in an unlimited edition, by HPIP New York City 2001, is available on request.