Demirok liberates the line from this imposed significance and explores its possibilities as independent element of composition. It becomes a corporeal and autonomous entity that dominates the passive surface with its own grammar. The results are not geometric constructions, but rather visual debates about composition - condensation, dissolution, calm, aggregation – and perception.

The observer has to deal with the paintings' refusal of outside reference, their resistance to significance. The eye samples the surface, explores the space created by the lines, fathoms its depths and attunes what it grasps to its visual memory. Associations of Architecture and Topography materialize. Perceiving the colors themselves, the dynamics of composition, the pictorial drama, is only possible by shutting out the Known. Each line remains, despite the reduced means of composition and the confined hand movement, an individual subjective expression, clearly distinct in color development and intensity, varying in width, uneven at the edges, sometimes only hinted at and vulnerable in its imperfection.

The blotch paintings follow this principle of reduction as well. Coşkun Demirok employs Black, Blue and Red, colors rich in contrast on bright ground, and spills a precisely defined amount of color. The blotches vary in color, density and contour and seem to float against the background.

Pia vom Dorp