In my master’s thesis, I conduct the basic analysis of my artistic process and production which emerged during the last three years of my master’s study. The basic form of the following text is chronologically following my own projects through which I develop conceptual analysis, as well as include the main referential material as an extension to my own contextual research. Therefore, the text coherently follows the dialogue between theoretical and practical. It is roughly divided into two sections. With the initial chapters of each section, I present the base of inspirations within the philosophical and art historical references which are followed by the specific analysis of my own art practice. The first part is focused on my painting practice which is also the foundation of the conceptual field evident throughout the entire thesis. Abstract painting series is a basic starting point in terms of “breaking point” or “in-between” concept which I develop through contextualizing the oeuvre of German contemporary artist Charline von Heyl and the concept of Bad painting in the 20th century. The transition in the space-based art is manifested with the turn to sculpture and installation intertwined with new media (video and interactive art) in my practice. The second part, therefore, is focused mainly on the phenomena related to the relation between a subject and space. Here, I focus on the basic concepts of motion (as the basic interaction between being and space), memory and history, and time and temporality and its perception. The main topic of interest is the space-time as a platform of human action and perception through which understanding of the world emerges. In this research, I include the basic theories of well-known philosophers (i.e. Henry Bergson, Martin Heidegger, Gilles Deleuze, and Edmund Husserl), a physicist Albert Einstein, and several artists, among others Marcel Duchamp, Olafur Eliasson, and Dan Graham.
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