Seçkin Pirim and his Works 

SINGLE/PLURAL                                   

There is a double puzzle in Seçkin Pirim’s works that can replace each other. These designs are the produce of a visual and conceptual contrast, about the multiplication of “single” and the imagery singularity of “plural”.  This understanding of “singularity” created by an abstract form which has almost left behind its structure, sterilized, purified, natural references, depends on the chain relation between the basic modular unit and the other modules replicated like it. Even in motion, these basic units that would not function without the other, a total movement per se, refers to the purest form of reason. By the first meaning of the word, this singularity in-between the imaginary, primary, wild form and the reasonable, basic measure functions as a whole like a series of teeth.  The possible relation between “single” and “plural” is at the same time where mental and optical illusions start.

It’s certain that a integral “single” is present within the “whole” as the essential element; however this is also nothing but the “whole” itself. All you need to do is look at the whole. This approach is the shortest route to see the design in itself that exhibits the complete process of development.

 DESIGN / OUTER OF THE INNER           

There is only one-way to answer how Seçkin Pirim's understanding of design developed: Look at his works. Seçkin has a design process that instantly gives away the stages from start to completion. A version of an open atelier. An abacus without direction or coordinates, fusing the compartments of thought with an invisible chain. What we see is both design itself and also the physicality of thought. The foundation, construction and result of the design are always based on a development that is plain and speaks for itself. The impression as an illusion given by the repeating module unit provokes the feeling that its perpetual ability for movement has been prevented, obviously intervened by an eye glaring the space. For Seçkin, design is primarily about scanning space, about the decisiveness of direction and movement within a perpetual chain of coordinates. He never disguises nor hides his thoughts. Within a modernist discourse that is to say, he puts into display a probability suffice to itself, together with all the aspects that create and exclude it. I would not define this as the stripping of all unnecessary details in the name of ensuring aesthetics and quality of the skeleton that erects the structure.  Instead of the skeleton, as a fundamental element Seçkin considers the attractiveness of the conceptual frame, the ease of use, the effect of perpetually upon perception. If train tracks heading towards eternity, the stairs of a minaret based on a spiral movement could represent both itself and its irremovable role of function, just like a ghost, his designs presents the inner and outer of the image as a whole reflecting on the mind. His is neither a method of including the beauty of the material within the form or expression nor an objective to reveal what lies inside the mass. On the contrary, he creates a movement with the potential to develop in a rhythmic oscillation within the three dimensionality of the world (but often vertical and horizontal axes). These are designs of a productive imagination, which combines a structural and mathematical objective with romantic-creative sensitivity.  

SPACE / MOVEMENT                          

The synchronised movement of basic modular unit within itself in Seçkin Pirim’s works, not only bears the meaning to sculpture/design but also multiplies it and almost enables us to perceive an invisible space. Mostly, the artist cuts out an ongoing movement within the void, within the space that cannot be perceived by naked eye, and adds the axes of beginning and ending. This form of cutting replaces the movement within the space and allows the eye to find a stop over within the ongoing dynamism. The lack of the movement, cutting and limiting brings out space. Seçkin's modular unit scanning space especially in three dimensions, all applications extending into perpetually within vertical and horizontal axes, verifies the idea of design in which the ongoing dynamism is cut in a arranged moment. In his applications where a limited space is used as a framed space and modular unit is forced into those limits, the artist transforms the beginning and end of the movement into a surface problematic, like a painting on canvas.  This dynamism confronting primarily with the space and then with itself, divides time into slices and creates a space for continuous action like a centipede moving slightly.

 NATURE / COUNTER REPRESENTATION           

For Seçkin Pirim, nature is an open store for knowledge that enables counter representation. Both a creative and destructive power having a reproductive potential, multiplying itself within a perfect balance. Most of his works remind the conceptual analysis of nature’s operation and understanding of form. A stylised leaf and its veins, a river with its every drop representing its wholeness, a cell that could only be observed under a microscope…These examples are never exactly replicated in his works. The artist formulates the imagery space of the idea as an exit, the same conceptual idea reflected on our minds. Nature as an interfering reality with his imagination becomes a trigger for a mental shift. The artist’s understanding of form is based on nature, even if its contrary in reality is not tested.

This must be the only reason for his works to present nature-originated references.  Constructing contrary representations that do not occur in nature but being both surprising even if they did, originate from both perceiving oneself as a part of the nature without excluding himself and internalising nature’s creative potential by a cultural awareness.

 PERSPECTIVE / OPTICAL ILLUSION

The transformation of conceptual signs between domains of nature and culture not only creates the essence of these designs but also determines the effects of a perceptive problematique on the audience. The normative and rational cultural perspective of Western Art matches with the visual and optical illusion still borrowed from nature, changes places with and literally becomes a synthesis. 

 The western tradition in Seçkin Pirim's designs as a problem of education, its changing places with the constructive structure of the nature in time, as an exploration zone, recollects that the accumulated is originally related to a problematique of the memory. It is possible to view all of his works since the first applications, within a linear course. As a result, where the artist came from flows into a new domain, in which gradually nature and culture change places with knowledge and reference. No doubt that this flow does not restrain itself to look at the nature and culture. Yet, it combines the accumulated and the possibilities as a problematic of the memory in a melting pot, therefore creates a new memory with its own references.

 SCULPTURE / MEANING

These designs floating within the space, suggesting the audience where to stand, are abstract in the perception of form, however they are humane in meaning. Without doubt, while using the word ‘humane’ here, I do not mean it as a sign of humanist point of view. The relation established with the audience here is far more indirect. This word refers to the meaning related to warmth and directness of both word and image, not open-ended concepts aiming towards their own issues.  The meanings of these sculptures open to well-known images and situations, which have always been there to make us. Seçkin does not attempt to absorb the wild emotions wandering in our memory with the language of nature as part of a design process. Stands far from a self-conveyable design culture claiming to transform everything to anything. A refined paucity, meaning problematic without the unnecessary details, choice of colour, like blue representing the earth and its varying shades, found in her sculpture/designs are suffice for a humane dialogue.  

Seçkin Pirim displays the meaning located in our memory over singular forms just like a poet’s creating an image with words, reflecting an imagery scene in our minds. This must be the only reason that these works settle in our eyes and bodies through a magical way.
 

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