Yücel Dönmez is one of the most interesting artists of the 21st Century. 




Selman Akıl- Art writer

Glitch, which means error, slip, distortion, is getting more and more confronted in the more and more digitalized world today, and it is now becoming popular as a very popular aesthetic form. In many parts of the world, some painters make canvas paintings by using glitch art aesthetics, which was born entirely within the digital field and is thus a part of the the new media art and its aesthetic form. Many of these painters make analog reproductions of these images by painting them on canvas with glitch images produced in the digital environment. Thus, they reproduce glitch aesthetics as an object, analogously. However, starting from a time when glitch art has not yet emerged, we are witnessing the formation of glitches or some glitch items in Yücel Dönmez's art, within the framework of his historical and technical dynamics of painting, and this testimony is more akin to a process emerging from his own dynamics of painting. 









Gilles Deleuze mentions three painting traditions with three different approaches in his book on Francis Bacon's painting, Francis Bacon The Logic of Sensation, in which he describes the chaos-germ, which he sees as the key point of the birth of original figurine, with the struggle of the painter, on the canvas. The first tradition and also Francis Bacon is included here, produces the figure with a diagram as the germ and the chaos for the figure at the same time. Secondly, the diagram can cover the entire canvas and this is the exemple that we see in abstract expressionism and action painting traditions. The third is an abstract painting, which we will be putting more emphasis on in the context of Yücel Dönmez paintings, creating a digital structure by leaving the diagram to symbolic code. Of course, in all three traditions, there are painters who make their own special "language" and "idioms" by making different accents during their production. This category created by Gilles Deleuze about the art of painting and the processes that make up these categories and their contents are very similar to those of Yücel Dönmez.








Firstly, it overlaps with the context in which the painter decides what to do on the canvas. With the moment that Yucel Dönmez decided to do something new and different from the first moment, for Gilles Deleuze the painting starts when the painter decide to  sweep the infinite clichés on the painter's mind and on the empty canvas before starting to paint. Yücel Dönmez has yet to start with such a decision at the very beginning to create his own painting line: it will be a completely new and unique style, at the same time it will be traditional and contemporary. For this reason, he defines the paintings he made in the early periods as "Contemporary Marbles". He leaves the figurative tradition behind, goes to a traditional field like the marbling, develops new technical and formal items through it, and sweeps cultural or technical clichés from the canvas before painting. The next step is to find his own visual idioms on the canvas with his approach and the possibilities provided by his material.

















In Yücel Dönmez's paintings, these idiomss are in a situation related to the abstract painting that Gilles Deleuze categorized as digital, either in the context of the cultural clichés and the figurative tradition or in the context of the relationship established by the organic nature of the art of ebru. For Gilles Deleuze, digital language functions as a symbolic binary code programmed in the form of an abstract pictorial spirituality, while at the same time this digital language is made up of the hands of the artist, through the eyes. And we don't see the diagram here. The diagram is the chaos-germ of the figurine and with the artist's hand, this chaos germ, this chance-based accident, gives birth to a unique figurine from this hatred. Especially in abstract expressionism and action painting, for example, in the center of hand, this chaos is the whole picture. The language is an analogical language here based on formal similarities. However, we can also see that there is a direct relation between digital and chaos, which differs us from Deleuze when we think of structure and operation in the context of Mathematical Communication Theory. We can think of the concept of entropy as the chaos there, which means that the message, rooted in digital communication and communicated in this theory, is to increase its capacity with irregularity. Again, this is chaos or entropy because of the glitches that technically come to light in digital devices in information theory.












When we think of the paintings of Yücel Dönmez in this approach, we can think of his paintings as a picture which is based on a digital surface but the chaos-germ is not completely excluded and it is integrated to this surface. Therefore, his painting has the features of the abstract painting and abstract expressionism in the category that Deleuze has done. We can say here that Yücel Dönmez paintings originated from a tradition which is an organic structure like the art of ebru as one of the starting points. Organic reflects its digital nature with its fluidity. Digital is not just a program, it is a digital message transmission, an irregularity in message transmission, entropy. Ebru art is an organic is a program that is processed on a fluid surface, and the abstract image is a program that is processed on the inorganic surface of the canvas. Yucel Dönmez treats the canvas as an organic surface, circulating flows to diagrams, and diagrams to flows. As the chaos-germ is in abstract expressionism, the entire painting stands as an infinite, fluid but serene surface as a sub-layer, does not dominate the whole image, it waits for the touch of the painter's eyes to return to the digital codes and then follows these touches. In his paintings, the program in the spiritual form does not reflect on the canvas as it is on the abstract picture, but rather on the chaos in the bottom layer, with digital codes drawn from the canvas to the surface of the canvas. And now these digital codes show glitch features both in terms of structure and visual quality as they gain their layouts on the surface of the canvas.


Gerard Richter is another artist who uses glitch items in painting. But Richter more uses photographs and applies the glitch on these photographs. Glitch artists who produce works with computers also perform glitch art by applying glitches on the digitalized photographs and creating compositions in their works. Whether in Richter's paintings or computer based productions, glitchs are based on deformation of perfect represantations that we see in the photographs, thus they draw the entropy of the information theory to the surface. In Yücel Dönmez, there is no need for such an interface that the photo becomes. As the chaos-germ ebru which forms the surface of abstract expertise, Yucel Dönmez creates a bottom layer with entropy qualities in the informatics theory as an organic surface and Yucel Dönmez draws the digital codes from it by manual glitches and keeps the abstract image of the spiritual program in a holistic composition.

















 One of Yucel Donmez's soft sculpture series 55x70x28 cm







In the summer of the art critic named Arthur Connell, Yücel Dönmez's original works in today's art show surprised the art lovers, while the artist also included the Snow picture in Chicago next to The Art Institute of Chicago museum. Yücel Dönmez is shown as the first artist to paint on snow in world art history researches. Donmez's conceptual artwork is also interesting in the article, Yücel Dönmez 's original technique brought to the art of painting is also mentioned. Yücel Dönmez took the attention of the famous Turkish art philosopher Professor İsmail Tunalı as the most interesting artist in his books as well as foreign critics with his interesting works he has done so far. In Prof. Ismail Tunalı's Design Philosophy and Ismail Tunalı books, the art of Yücel Dönmez is mentioned with praise. Turkey does not start yet could not be understood as addressing the needs of


































contemporary art Yucel said. '' Contemporary art has not been made by reconsidering the work done in America years ago. In addition, individuals and companies who invest in art and sponsorship, giving the chance to represent themselves in the arts to third parties, they're prevented from entering the ability to contemporary art from Turkey. Because some curators of so-called art, which have the opportunity to their hands, are able to ignore our artists who are able to present truly talented and real contemporary art by discrimination. Until now, I can not live in my country because of the criticism of foreign critics, and I think that discrimination and the money laundering and manipulations that are taking place in the field of art in our country are effective.

 100x120cm ''color center''

 Capitalizm is new belive use womens. One of protest art of Yucel Donmez


 130x100 cm ''Qustion of point''


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