When we examine Turan Aksoy’s production from the 1980’s through the current day, we see that he is in a pursuit to classify, designate and conceptualize that which occurs around him, and that this attitude is precisely nominalist aesthetics.  Just like a nominalist, the artist takes as a basis the reality and experiences of his internal and external world. He determines his attitude by setting out from the events from his own life experiences and societal norms, weaving into them metaphors and/or surreal elements by personalizing, politicizing, abstracting from time to time, making them erotic and/or sarcastic. 

At this point, rather than pulling the viewer into this structure he has constructed, the artist holds the viewer at a certain distance. When the viewer determines his or her own attitude in light of these layers of meaning, he/she is included in the structure. Questioning, designating and conceptualizing that which is special and intimate, the nominalist attitude, is the fundamental point of more than thirty years of Aksoy’s productions.

Burcu Pelvanoğlu