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AHMET ORAN | A Cartography of the Unconscious, Hans Irrek

A Cartography of the Unconscious. I was very interested in how breaking through the surface creates repercussions in terms of what else is imposed upon a cut. That’s a simple idea, and it comes out in some line drawings that I‘d been doing. In these almost monochromatic pictures Oran opens the lower part as if one would lift a stage curtain. They are the pictures that swindle, have the rootlessness as calculus in their luggage, to pull the viewer into a mazy experience of colour and space. This alone...

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AHMET ORAN | A Cartography of the Unconscious, Hans Irrek | ahmetoran.com Reviews
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A Cartography of the Unconscious. I was very interested in how breaking through the surface creates repercussions in terms of what else is imposed upon a cut. That’s a simple idea, and it comes out in some line drawings that I‘d been doing. In these almost monochromatic pictures Oran opens the lower part as if one would lift a stage curtain. They are the pictures that swindle, have the rootlessness as calculus in their luggage, to pull the viewer into a mazy experience of colour and space. This alone...
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AHMET ORAN | A Cartography of the Unconscious, Hans Irrek | ahmetoran.com Reviews

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A Cartography of the Unconscious. I was very interested in how breaking through the surface creates repercussions in terms of what else is imposed upon a cut. That’s a simple idea, and it comes out in some line drawings that I‘d been doing. In these almost monochromatic pictures Oran opens the lower part as if one would lift a stage curtain. They are the pictures that swindle, have the rootlessness as calculus in their luggage, to pull the viewer into a mazy experience of colour and space. This alone...

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AHMET ORAN | A Cartography of the Unconscious, Hans Irrek

A Cartography of the Unconscious. I was very interested in how breaking through the surface creates repercussions in terms of what else is imposed upon a cut. That’s a simple idea, and it comes out in some line drawings that I‘d been doing. In these almost monochromatic pictures Oran opens the lower part as if one would lift a stage curtain. They are the pictures that swindle, have the rootlessness as calculus in their luggage, to pull the viewer into a mazy experience of colour and space. This alone...

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