Painting exhibition of Turkish poet awaits visitors until Oct 31
Her paintings exude a connection that Müldür has for art that is well-explained in her poem “Milat.”
“But to what extent a painting is a fundamental element of a painting. Who can claim he couldn’t escape for a while. Hallelujah,” reads a line from her poem, which indicates her love for painting.
“It was in the red era and everything was red. I suddenly catch myself in the window,” her poem continues.
Müldür has a strong relationship with portraits, as she defines in “Milat.” She also often draws self-portraits.
“Figure is everything,” said Müldür. “I take the canvas, I start to draw portraits, after a while I realize that I have drawn more than one portrait, one inside another. I am surprised. I think about where this second portrait came from. I say it must have come from above, it feels like others are helping.”
Figures are a strong feature of Müldür’s paintings. She describes them as “the top corner of reality.”
She even seeks to find the right definition: “Unrealism is unreal. Unrealism, unreal reality.”
Müldür believes her time in Paris and her husband’s nonchalance toward her talent were formative in her passion for painting.
“While I was in Paris, I did not have any painting in mind. There was only one circle of curiosity. I watched and learned all the pictures in Paris. I have my notes in my notebook. My spouse, Patrick, was a painter. One day he showed me two photos and I painted them. But because Patrick never told me that I paint beautifully, I couldn’t continue. I left the painting for a period. But then I decided to continue. The pictures of those two photographs are in this exhibition today,” she said.