Neş`e Erdok

o que é viajar.
and many more, here.

- You told me that you usually don’t use any model. How does the period for projecting and creating of the portraits progress?

ERDOK - Nobody has ordered me any portrait until now. Even it has happened I wouldn’t do that. Besides, I also don’t ask anybody for something like that. I decide myself whose portrait I’m going to do. However this doesn’t fit with the definition of classical portrait. Additionally, you can’t find anybody to pose for ten, fifteen sittings. Only by two of these portraits I had models in front of me for one sitting. The rest has been done based on the information I had about those persons. These portraits don’t bear an absolute similarity. They only associate some specific behaviors of those persons. These portraits never consume those persons completely. Maybe, they can be recognized if seen somewhere else. At the same time, by some of them the psychological condition of the persons may place in the foreground.

Nowadays, there are some new German portraitists of this manner. There’s also a trend, which they call ‘Neurotic Realism’. They do disturbing, exciting portraits with deformations where psychology is the most important thing. For example, Giacometti has also that kind of portraits.

However despite the deformations, when you see the photo of those persons you think about the similarities. The purpose of this type of painting is to reflect the inner world. In brief, there are no more portraits to be beautified and to be idealized.

-Do you think that the portraits where you place the psychological condition in the foreground are closer to the reality?

ERDOK-This is my reality. In this picture I have my thoughts, perceptions, worries, excitements about that person, I mean I’m also included. At the same time the feelings and excitements of that person appear in. These portraits are the combination of both.

-While picturing people from daily life do you utilize photos or do you draw the sketch first?

ERDOK-For example, it’s impossible to keep standing still the simit-seller kid in front of me. I stare a lot, I memorize in a way. I place it in my archives. Besides, in those portraits the characteristics of not a single but a few simit-sellers are gathered. I do images in general. There are also some paintings I did using models. Nude paintings are being done this way. Additionally, before my education, by the drawings, which I did during my early childhood at home, I used my mother, grandfather and myself as model. Actually it’s very good to have the model in front of the painter, so she/he can be in a continuous contact with the model. I don’t like to work from the photograph. Photograph is fixing a moment and it’s something you look with one eye. However, the person facing us is living and has various dreams. I think that living the person and object is necessary for painting. By some paintings I do the sketch first, but by the portraits I worked on the canvas directly…’(2)
daqui.