A painting, according to me is the most authantic child of
‘a life that longs for itself, is in love with itself, and mates with itself.’

In the beautiful days of life, the ‘sweetness’ all around, with Nilgün, the men handsome and the girls fantastic, we ‘swallowed time together.’ It was our right to wait for its birth, but we ‘forgot.’ In childhood, the age difference ‘grew,’ Nilgün was our ‘naughty’ little one; we grew up, now we are ‘the same’ age. Years later, when I encountered her in her studio, I remembered forgetting to ‘observe the birth’ of the time we swallowed together: I looked at what she had done and understood; Nilgün had ‘given birth’ to form and color. If you want your work to be ‘far from dedication,’ take refuge in a world without colors. If you want your passion to ‘manifest’ in the midst of colors, don’t hesitate, ‘shoot yourself with your own love.’ We ‘gave birth’ to our ‘second’ birth on the ‘way’: When we moved beyond the realm of belief and embarked on ‘liberating’ ourselves beyond mountains and rocks.

As the children of atheism, we did not experience ‘contradictions,’ and Nilgün, in the ebb and flow, prepared herself for a ‘third birth’ by ‘turning around’ in the ‘wet cave’ of her heart: There was ‘someone bigger than herself’ inside her; some called him the ‘Enlightened Human’ or the ‘source of inspiration.’ Nilgün named him: It was the great Jesus inside her. When the ‘secret identity’ became Jesus, the ‘picture’ becomes ‘wisdom’ or ‘wisdom’ that overflows as a result of the concentration of the heart. While wandering after the picture she loved, Nilgün, ‘looking back,’ became a ‘point’ in her heart without length and depth, that is, ‘nothingness.’ Then she started to ‘move’; points came together to form lines, lines came together to form surfaces, surfaces came together to form ‘pictures’; when they grew and could not fit in the soul, they ‘gave birth’ to color. Life gives colors to the soul; therefore, to be a canvas that can receive the colors Life can give is to be a ‘painter’; Nilgün achieved that.

Nilgün turned her heart into a painting studio, and she became the worker of this studio. The paintings produced by this worker are no longer Nilgün’s but the children of life. Nilgün, in the situation of these ‘cipher paintings’ that are like the children of life, ‘overflowed beyond her own body’; she embraced the forms and colors in the palm of her hand. At times perceived as ‘goodness’ in the sense of ‘tortured evil’; at times, as Jesus for the sake of saving humanity, as a price offered to Satan, in the sense of ‘pure vessel’ like Mary, she became. At times, she wandered in the identity of Satan, fed and nurtured by ‘fear and foolishness.’ In this way, she brought these ‘cipher paintings’ into the infinite life like this. When remembered, each ‘cipher painting’ emerges as an ‘elixir’ ‘shaped-colored’ in the infinite life: Nilgün accomplished this; she gained immortality and died at the same time; frankly, she revived while living. When we wander in the world of painting, the embodiment of God in Jesus as ‘incarnation,’ the fusion of the godly ‘fertilizing power’ in the Bath of Mary with the ‘fertilizing power’ perceived as ‘fertilization power’ is described, to some extent. The phenomenon of turning into the eternal substance, that is, the pre-birth ‘shapeless substance,’ is associated with both the birth and death of Jesus. The question of which is greater in the contrast of joy-sorrow seems to be sought: In detail, ‘joy’ seems to be right next to us, while ‘sorrow’ lies on our bed waiting for us. For this reason, when I am alone with Nilgün’s paintings, I can be transported to yesterday’s ‘memory’ and tomorrow’s ‘thought.’ When colors want to ‘make love,’ they must flow towards each other from the painter’s brush. When they meet, the great mother called painting will embrace every color. At that moment, the ‘hand of life will be color,’ it will peel us and play with us with every part of our skin.

Those who want to see ‘how the thirsty colors of a painter drink’ without ordering a soul should watch Nilgün Tüzüntürk’s ‘dance with colors.’

Esat Korkmaz