Dr. Paolo RIZZI    (Art Critic)
Venezia _ ITA

.A female nude is before us, offering herself, surrounded by a mysterious azure light. She seems taken from a Northern European painting of the early Renaissance. But something is wrong : on one shoulder, under the breast and over the pubis are strange little tubes, worm-like filaments which seem made of plastic..
    Strange and contrasted ; these are the primary characteristics of this troubling Turkish artist who, after spending ten years in Austria, Germany and France, comes to exhibit here in Venice. A new and original presence, who touches the very heart of todayís man.
    Nezir paints with the old masters constantly in mind, but with the consciousness of the tense duality of an age torn between humanism and a fascination with technology. He calls his paintings « psychomechanical ». In them, manís physiology is contaminated by a sort of mechanical leprosy, which insinuates itself (in the form of fine plastic tubes, pumps, manometers, switches and levers) on and in the bald and deteriorating flesh of his figures. An artifice that places the technological monster within man himself in the form of incredible growths. This is accomplished while avoiding the artificial technicity of fashionable neosurrealism. Nezir points to the great European tradition. Certain paintings and drawings done as a young painter from Tatvan, Eastern Anatolia (Nezir is of Kurdish origin), during his first four-year stay in Vienna, while still ignorant of the influence of 15th century German materialism, are most surprising.
   There is obviously the innate affinity to European pictorial devices. There was something that pushed him to root out the oriental tradition and replace it with the thick meandering of Nordic fable. With the years, cultural affinities defined themselves even if it seems that Nezir reached for a sort of general climate more than a precise model. It is indubitable that the influence of Leonardo from the very beginning plays an important role. There are also the references to Bruegel in the physical deformations, the aristocratic figures from the protorenaissance of Dürer, the mystery of Cranach, the aerial viewpoint, swarming with life, of Altdorfer.