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    Starting 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 in Tatvan.
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.

my unkle Abdullah

the Blind man -Tatvan
   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
(3) Tatvan-1972
    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.