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Gulten Imamoglu is one of the innovator contemporary artists who bring a new discipline to understand the world acts by exceeding limits. Imamoglu manages to bring together dynamism of the beauty with the stability of death, infinity of thought with the concreteness of art and the mercilessness of reality with livability of dreams. Colors are not seen as real colors in her paintings, but as a whirlpool reminding us of natural magic. Imamoglu likes countercurrents of the colors, and she does not waver to strike us with these colors. She creates amazing, magnificent paintings by using the colors as an instrument for a depressing sense, incredible excitement, an idolized death and a livable paradise. Imamoglu concretizes the uncertainty of figures with an artistic integrity of colors. And thus, she makes a perfect, highly specific and original contribution to a figurative translation taken from the Classism. Imamoglu created a new form in contemporary painting, named as organic metastatic. The inspiration is coming from the belief that the universe with its many complex systems contains multiple strata changing from micro to macrocosmic in a dynamic state. There is a constant regenerating motion, stratification, and transformation in the universe. In paintings of this new form, organic metastatic, the main characteristic of figures, which gives a taste of painting/sculpture, that may cause misperception, at first sight, constitute multiple stratifications. With metastatic, there are messages for the religions, for human memory/psychology, for existence, for the endless cycles of the universe, for past and future, and especially for the time. Every painting has own unique nuclei. There is an overlapping of the effective situation of the artist and her figures in the paintings. In addition, Imamoglu also gives a message of uncontrollable features of the time, which are speed and motion.

Artist's statement


"I have always been fascinated with the inner being, the hidden forces that propel us through life and which have been codified and represented in countless cultures through myths and legends. My portraits seek to reveal these hidden forces using primarily the representation of the feminine form and also through referencing the look and feel of classic art from the Symbolist and PreRaphaelite eras.


The method I use in my work is something I call "Painterly Photo Montage" Through a technique called masking that I employ in photo-editing software, I stack, layer and blend different photos together to create a final image that looks much more like an oil painting than a photograph. When the image is printed, I often mount it on wood panels and then paint over the print with varnish, gel medium or beeswax - this is a method called photo encaustic painting and it gives a tangible real texture on top of the photographed ones.

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