Now and again we sense the painter’s actions between dye and color. Yet he is not insistent. A totally silent, thin layer of color appears in another corner. They are like the harmony-disturbing sounds of the tradition in which he grew up and beyond which he observes… They are adjacent, yet not conjunct. Color fields (what I call distance) underline the difference between these two traditions. Just like it separates dye and color, it also separates the artist and his painting.

Can we claim that this is simultaneously a conceptual construction and a political approach?

Ekrem Kahraman’s paintings aptly display the strike of that razor belonging to art history. It shows us both the rules of academic language and also an artist bolting from that language towards the world… And this reminds us the fact the razor can move against the grain as fast as it does downwards.

Barış Acar