Meral Yıldız: THE SACRED TEXT —
Creating art, resembles for Meral Yıldız a spiritual journey, in which during the artistic production process, her mind transforms into an altered state. She then goes beyond the known in order to discover alternative dimensions of life and its reality. In this context, she feels close to Kandinsky’s mystical notion of painting, and at the same time loves Gerhard Richter’s formalist approach to colour and texture. During her impulsive painting processes, she wants to get lost by losing the ego that forms her personality. In the end, she erases herself.Meral Yıldız works without a plan, draft or sketch, as she does not believe in plans. At the beginning of her work, she often develops collages of randomly chosen images. Later, in a reflective and analytical process, she evaluates the collages. Later, she takes them as loose outlines for the composition of a piece. During the painting process, in a mix of acting and reacting, she is in a dialectic situation of being “in” the painting, and “outside” the painting. This change between unconsciousness and consciousness, in where the painter shifts between spontaneous/emotional and reflective/rational moments can be found in the work of many abstract painters since the second half of the twentieth century.
The shifting between being asleep and awake or unaware and aware leads Meral Yıldız to unknown spheres of reality. At the same time, and this is her tribute to her professional background, it prevents her from falling into a sentimental, melodramatic and false romanticism. That is why her work results from a reflection on the state of painting in the context of her personal interest in finding an abstract expression that contains mystic and spiritual value. In this context, the term infinity, which in mysticism as well as in the history of abstract painting is of great importance, plays a major role in her notion of art.