Eser Gündüz is an expressionist artist based in France
He mostly emphasizes to varied utopias through the achitectural basis. He feels the different moments on the utopias, and makes with the power of balance and senses on the painting. He compounds this works onto his canvas. In here, those shapes reach at their maximum contrasts with colors scale.
Fontaine & Metropolis
London exhibition at HOFA Gallery
For centuries, early societies tried to make sense of the unknown, the anomaly, the strange, the mysterious through what they’ve known, seen and believed. They created a collective visual memory of monsters based on authentic forms given by nature itself and a mythical one based on their collective memory determined by myths and stories that represents their fears more than their real-life experiences. The fear of the unknown encouraged people to produce and to create a certain imaginary knowledge in order to protect themselves and they also tented to transmit it to future generations in order to protect them as well.
Then, later on from about late 18th century to 19th century, with the influence of the industrial revolution, especially in Great Britain, the rise of the machines and a new imaginary world inspired by it aroused a big excitement in the western societies. Despite this big excitement and hope, soon, the industrialized world turned out to be a dystopic one where human power serve to the machines on a daily basis without giving any inner world to the individuals. Regarding all this progress and change in the society, a negative perception of machines emerges and “machines-taking-over-human-race” fear appears to be more and more reasonable and fair. During this dark industrial period, the fear of the unknown emerges also through creative and visual productions. This time, those dark dystopic productions does not represent an imaginary magical world linked to the nature, but an imagined post-industrial one which displays a unique dark vision of future.
In “Fontaine” series, Eser Gunduz offers a journey to a geographical area that is marked by this creative tradition of fear and its magical world. Stimulated by the historical site in the south of France, Fontaine de Vaucluse, Gunduz reflets the magical ambiance of the area hidden between mountains, waterfalls and a castle with an iconic fish in the blazon of the city. The gloom of the nature, its dark forms, their reflections on human mind has been the main inspiration of Gunduz in this collection.
In “Metropolis”, the arousal of a new ‘unknown’ during the industrial period inspires the artist; Gunduz reflects upon the convergence between human body and machine as the two clashing powers of the era. Machines of the industrial period takes places of the old magical world’s monsters by creating a new esthetics. Gunduz regenerates those two esthetics in this merging series : natural and mechanical, magical and rational, yet still with the image of the unknown.
Group Exhibition in Rome
Gallery Contemporary Cluster 28.04.22-29.05.22
For centuries, early societies have tried to make sense of the unknown, the anomaly, the strange, the mysterious through what they’ve known, seen and believed. They created a collective visual memory of monsters based on authentic forms given by nature itself and a mythical one based on their collective memory determined by myths and stories that represents their fears more than their real-life experiences. The fear of the unknown encouraged people to produce and to create a certain imaginary knowledge in order to protect themselves and they also tented to transmit it to future generations in order to protect them as well.
In “Fontaine” series, Eser Gunduz offers a journey to a geographical area that is marked by this creative tradition of fear and its magical world. Stimulated by the historical site in the south of France, Fontaine de Vaucluse, Gunduz reflets on the magical ambiance of the area hidden between mountains, waterfalls and a castle with the iconic fish in the blazon of the city. The gloom of the nature, its dark forms, their reflections on human mind has been the main inspiration of Gunduz in this collection.
NFT’s on Foundation
Hello everyone!!!My artworks are out on Foundation!!! And you can choose and collect one you like most of all: “Computer Love” – The work from a series of polyurethane frames, created by Eser Gündüz’s own hands, shows the first phase of the formation of artificial intelligence and computer morphology; “How Is That Acid” – The work contains a number of post-apocalyptic items and details from the Soviet past; “XIV Louis” – This is an iconic vision of the XIV century. The work demonstrates the events associated with the plague epidemic in the Middle Ages, referring to the connection of humans with heaven; or “NWAF”- This work is created on the basis of an antique painting giving it a new post apocalyptic meaning. Collect NFTs and enjoy the artworks!
Exhibition in Paris
Gallery La La Lande 20.11.2021-15.01.2022
In search of an alternative temporality and spatiality, Eser Gündüz proposes a permeable intermediary through which imperfections and materials become part of an aesthetic perception outside of time. Pushing the boundaries of his art further, he achieves an alliance between historical materials and the vision of artificial intelligence: a line inscribed towards this series that poses retrofuturistic scenes.After the transformation at the height of artistic forms, born from the implementation of plastic materials and the isolation of organic materials in the course of this new world of forms, Eser Gündüz tends to seize a harmony between these two perceptions, bearers of vast aesthetic potentials but which seem to be contrasted.Through Anachronia, this exhibition presents an alternative temporality against the chronological historicity of modern time. Moreover, thanks to the installation of the scenes from a children’s playground, imagined by the artist, it suggests an ephemeral physical utopia, thus a Heterotopia to the spectators in the La La Lande Gallery.
Solo exhibition in Milan
Roman Sviridov Gallery 05.08.2021-05.09.2021
Solo exhibition in Milan 20.11.2020 -10.01.2021
Lilith & Adam, the first of the mythology art booklets is now available.
The mother of all demons and abomination of the earth, the first wife of Adam, Lilith’s myth is not a love story, but a story of rebellion and domination, pleasure and pain, fire and lust.
Art by Eser Gunduz
Story by Idil Basural.
Books as 10 different series and compilations since 2019 from different periods
Artistic perception of architectural morphology and forms on human space
Artistic perception of architectural morphology and forms on human space
More powerfull robots their geometries and their visual behaviours
An interview with abstract.mag & Roman Sviridov Gallery
Hi Eser, could you tell us a little about yourself and how your journey to the world of art began?
I am thirty years old and I live in Istanbul. I can summarize my art journey in three stages: at the earliest, I was just drawing, it was a period when I tried to understand what the line and drawing were; we can define the next period academically, I have met with universal drawing techniques in this transition period, where we have just studied the details we see; then the architectural period, thanks to the universal language of this period, and my art became more and more architectural; now I am in the abstract period of synthesis of them all.
What do you mean by the architectural period, is it related to your education?Yes I mean the architecture education I received at Mimar Sinan Fine Arts University naturally affected my work in this direction. This process shaped my artist identity in this direction, as the school provides education in bauhaus school. Later, I also made architectural studies in a global framework. But I think that architecture remains pure in today’s world. It is quite difficult to get the right ideology and the lines of this ideology perceived and accepted in the social sense. In architectural practices, many factors like this can break down your ideas and thoughts. But we can think that they are all one in the art process; architecture, painting, graphics and many other dimensional studies are all called unified visual arts. You can realize the right production on every surface as a designer and I basically had to make a distance with architecture and search in order not to be corrupt in art. I knew I would be a happier and more productive producer with painting, and it happened as I guessed. The harsh attitudes and certainty in architecture turned the intense mess in painting into clear lines rather than uncertainties. This night has let me to the idea that no assertive and unreasonable behavior should be in art. Thanks to the multidisciplinary perspective, we can see the picture from different places. In this way, I was able to set up my paintings in line with the ideology that I believed more and not my beauty. For me, every line should serve a function and it must have a reason. The story is the story, the form is the form… Many elements in my drawings and paintings come from here and I call it all architectural morphology.
Collaboration with Franck Muller 2020
A shared experience with Spanish fine beer brand Estrella Galicia on an Art Mechanical.We combined mechanical art and the dimensions of concept of time in the same space with Franck Muller