1990

Venedik Bienali

44th Venice Biennale

Beral Madra

 

[…]

Since 1987, Mithat Şen (1957) has been dissecting the human figure into many pieces, treating separately each of the parts, and painting them with an analytical and disciplined improvisation. He had originally completed a series of monochromes as a self-investigation and a challenge to conformisms. Starting in 1988, Şen’s works revealed fuller, more voluminous and saturated forms. He displayed his elements randomly, in many directions with quite unpredictable visual deviations. The kinetic movement among the figures were often reminiscent to wrestling matches, sexual involvements, transfigured into dance performances. 

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