the next day, and for weeks to come, I worked on the painting,
studying anatomy at the same time. The predominant blue and
the bald heads appeared for the first time in this piece.
I returned to Tatvan shortly afterwards with this new vision
and the nucleus of a new style. I finished the school year
I was seventeen.
In Tatvan I
began another canvas. After "Death
of the Violinist", nothing
was as before.
I chose another category of person to
pose this time; my uncle Abdullah, his extraordinarily rich
face was a treasure, my father, my mother, the blind man,
Asik Veysel, and the poor I encountered daily.
It was time to get started. The subject that declared itself
in the coming work was vast. I called my new canvas
"The Universe of the Blind". Again
the bald heads and ever-present blue colonized the picture.
But it wasn't right yet! I was particularly
interested at that time in the differing theories of the creation,
of matter and anti-matter, of technologies and of man in his
purest state. I loved the
realism of the renaissance, but did not want to do "renaissance"
paintings. I wanted to be myself, a man of my village.
The Universe of the Blind
I began a new painting with a thousand questions in my head.
I worked day and night, inside and out of
doors, for six months on a canvas measuring only 50X70 centimeters.
The long walks I took on the lake
shore or in the mountains, in the dark streets of Tatvan at night,
my observations of people in crowded cafés, reading and writing; everything
I did was intimately linked to and was absorbed by this painting.
It became the distillation of my new sense of things.