I. One day, after many years of experience as a painter, I decided I wanted to make sculptures. At the moment of the decision, I was facing two major problems. What to work with, so that the material should be fast to model and be durable and fine and elegant at the same time? I was certain that I did not wish to do any casting or moulding because I wanted every single touch on the material to be the final touch; just like in painting. This was the first problem. After about a year of investigation in the studios of sculptor friends, I came to the conclusion that I was right about eliminating the stage of casting, because it looked to be very similar to what printing techniques do in painting in the sense of limiting an artist in his freedom of expression. This is why I chose to work with easily melting metals.
II. The second and more important problem, in my case of course, was to set up a language of form similar to what I do in painting. That is, creating a field of freedom in the construction of the image by eliminating the third dimension. Traditionally sculpture is defined, among others, by one of its irreductable specialities; by the third dimension. But in my position, my way of looking at the matter presented to me no other solution from that of starting with a metal sheet, as I would with a sheet of paper and ending up shaping it in a three dimentional space. As I was freed from the nessecity of modelling my figures in the third dimension, I used the third dimension as a means of expression when needed. It was not that I intended to declare this to be some brand new idea, but my need to be able use a free language of expressing myself. That is how my expression ended up in this kind of of a language in sculptural form.
III. What I have tried to do is nothing more than to search for an language through which I might convey my feelings and visions on everyday life, that we are all going through.
Orhan Taylan Asmalımescit, Nov.'99