2004
Associate Professor
Canakkale Onsekiz Mart University
2014
Assistant Professor
Canakkale Onsekiz Mart University
2021
Professor
Canakkale Onsekiz Mart University
Artist's Statement
Bosch, while being influenced by the fantastic whims of Brueghel, Fussli and Goya and German Expressionism, in his works he draws the viewer's attention to the meaning of Tempus Fugit; time flies, in a Gothic and Dark Romantic manner. Skeletons, which are an inexhaustible leitmotif that we can catch in all of the painter's periods in this intellectual-conceptual direction, remind us of the Latin phrase carpe diem, quam minumum credula postero; seize the day, trust in tomorrow as little as possible, by the Augustan period Roman poet Quintus Horatius Flaccus. While the artist essentially wanted to describe the concept of Tempus as a regular cycle of time, he also referred to an expression of Latin origin derived from a similar word; momento mori, one of the most important maxims of the Stoics; don't forget you must die!.. Or remember death!.. It also draws our attention to the concept of the Baroque Dance of Death (danse macabre) with visual-carnivalesque and grotesque expressions meaning. In line with this concept, his works also make a statement with vanitas paintings, which have been treated as a special still life genre and have meant nothingness, emptiness and futility since the past. Undoubtedly, in addition to the most important macabre writers of our time, Robert Bloch, Jorge Louis Borges and Ray Bradbury, we see the first works of this aesthetic in Horowitz's interpretation of a Saint-Saens composition adapted for piano by Franz Liszt in 1849. Just as Camille Saint Saens uses the Scordatura technique to describe the movements of skeletons reflecting the dead coming out of their graves and dancing until dawn, just like the discordant sounds made by string instruments, Tempus fugit is emphasized repeatedly in Daloğlu's paintings. His art tends to contrast images reflecting Gothic literary and artistic traditions with other images dealing with colonial remnants and socio-political issues. His frequent metaphors for the artist include skulls of oxen, horses and bulls, with references to the minotaur, symbolizing a common reflection of our ancient Ionian, Greek and Hispanic Mediterranean culture.
1971
Ankara
1987-1990
Between the years 1970 and 1977, he took his first drawing and painting lessons at the painting studio founded by architect, painter and sculptor Mükremin MUNGAN, and acquired his first theoretical knowledge on Near Eastern Mythology and the social history of art.
He graduated from Hacettepe University, Faculty of Fine Arts, Department of Painting in the studio of Prof. Dr. Zafer GENÇAYDIN. During his undergraduate education, the Art History courses given by Prof. Dr. Kaya ÖZSEZGİN and especially the Art Theories, Art Ontology and Cultural History courses given by Prof. Dr. Sıtkı M. ERİNÇ formed the basis of his academic and theoretical studies.
1990-1994
Art Department
Hacettepe University
Ankara
1995-1997
Master of Arts in Painting
Hacettepe University
Ankara
In 1995, he completed his first original wall mosaic, "The Dismemberment of the Egyptian God Osiris", measuring 3.5x6 meters, in the Morphology Building of the Ankara University Faculty of Medicine, within the scope of the Graduate Program of the Hacettepe University Institute of Social Sciences, under the supervision of Prof. Dr. Veysel GÜNAY.
In 1997, he completed his master's degree with his thesis titled "Deformation and Eroticism in the Dynamic Modulation of Surface Painting" under the supervision of Prof. Dr. Zahit BÜYÜKİŞLEYEN at the Painting Department of Hacettepe University, Institute of Social Sciences. In the same year, he interpreted French painter Henri Matisse's "Swimming Pool" and "Blue Collages" using the dry plaster-enamel technique on four separate walls in the Ankara University Conservatory Recital Hall.
He studied Academic English and American Short Story for one year at Marymount College in Westchester-Tarrytown, New York, USA. During his education, he conducted research on "Images of Violence in Painting" and "German Expressionist Art" in leading institutions such as the New York Metropolitan Museum of Art, MoMA, Guggenheim Museum and Whitney Museum of American Art. He also produced his first original works abroad in the studio he founded at 1453 York Avenue on the East Side of Manhattan, under the influence of the New Objectivity (Neue Sachlichkeit) movement and heavily inspired by the art of Max Beckmann.
1998
Academic English and American Short-Story
Marymount College
Westchester-Tarrytown, New York, USA
He continues to give applied courses on Mosaic Techniques and theoretical courses on Art Theories, Aesthetics and Art Ontology, Scientific Research Methods, Academic Article and Thesis Writing Techniques at the master's and doctorate levels at Çanakkale Onsekiz Mart University, Faculty of Fine Arts. He currently serves as the Head of the Painting Department and Head of the Main Art Branch.
Academic Articles
This long article, which dares to think about the economic-political and philosophical culture-criticism of German Expressionism, will examine the Political and Philosophical Influences of Primitive Cultures on Die Brücke and the Dresden Secessionists, by trying to draw attention to the specific characteristics of Christian utopia and its organic connection with utopian socialism. The rational essence of the expressionist art in question is the historical crisis point: the First World War and the Bolshevik Revolution. When the brutal realities of the war fueled utopian speculations, the German Expressionists, who were stuck between the two major philosophical movements in Western Europe; the egoism and self-indulgence of English origin and the idealism movement of Prussia, turned to primitive art and expressed their longing for an egalitarian communal life. However, the fork in the road; is it the path drawn by Marx, who thought of creating a more humane, classless society? Or would they have to turn to Nietzsche's Dictatorship of the Will to Power of the Overman? Or would they have to turn to Weitling's renewed Christian Socialism that would establish politics in accordance with the teachings of Jesus? These three questions or orientations provide an explanation full of contradictions in the literary and artistic attempts of the expressionists at the root of their unrest. The result: failure... However, although they did not seriously examine the troubles of the era they lived in and did not even seek a solution, they worked the problems of the era they lived in into their works in such a way that these works acquired an aesthetic quality that best documented their time.
History and art are both creators and concentrators of power, just like rituals, sanctification rites, funeral ceremonies, myths or mythical narratives. Indeed, art has such a function, as the historian's discourse must both verify and strengthen power in reality, both verbally and in writing.
It should be noted. Because art is a socio-aesthetic relationship that is closely connected to what we experience as the reality of the day, human practice, society and life. As visual records that are recorded in history, works are formed in people's consciousness, in their own real lives, as a necessity, and in line with their encounters with desires and difficulties. Because images are also aesthetic products of human consciousness as visual transformations of a certain consciousness related to the world, and they are not things that are dug up like ore, but representation-objects constructed to serve a certain function within a certain socio-cultural environment. However, despite all the mastery and competence of aesthetic relations, there are works that contain indicators that cannot distract the viewer's gaze from the political subject of violent images. In question,
These sign-works have symbols and signs that enable a reality, phenomenon or concept to be expressed not on its own real plane but on another plane of reality.In the perspective of historical, sociological and Marxist criticism, the art and literature of the 19th century had a social direction made to raise consciousness. This modernist idea of society, moral and social progress, personal freedom and public happiness are the heritage of the 18th century Enlightenment. Realism in art flourished in a climate of thought in which the Enlightenment, the century of philosophers, pushed metaphysics aside and reason gained dominance. Since the first seeds of this climate of thought were sown with the Greek Enlightenment in the 5th century BC, the basis of the data of art and literature has always been human. However, as in Aristotle's judgment, human is a zoon politikon. In other words, he is a social animal and according to Hegel; human cannot be distinguished from his social and historical environment in line with this characteristic. According to Lukacs; this is also a valid judgment for realistic literature and art. Therefore, art and literature essentially focus on the social human and therefore the essence is a social element. However, in the contemporary bourgeois world, art and literature, which have turned away from society and humanism with complacency, have turned from rationalism to mystification and have closed the way to realism. Indeed, Western Realism and Social Realism were discussed within the realism-impressionism phenomenon in the European capitalist social orders that fueled colonialism and imperialism, but these discussions could not show a great presence within the Cold War policies of the capitalist bourgeois movements that emerged in the twentieth century, in line with the Avant-garde and Formalist Art (Formalism) understandings.
In the perspective of historical, sociological and Marxist criticism, the art and literature of the 19th century had a social direction made to raise consciousness. This modernist idea of society, moral and social progress, personal freedom and public happiness are the heritage of the 18th century Enlightenment. Realism in art flourished in a climate of thought in which the Enlightenment, the century of philosophers, pushed metaphysics aside and reason gained dominance. Since the first seeds of this climate of thought were sown with the Greek Enlightenment in the 5th century BC, the basis of the data of art and literature has always been human. However, as in Aristotle's judgment, human is a zoon politikon. In other words, he is a social animal and according to Hegel; human cannot be distinguished from his social and historical environment in line with this characteristic. According to Lukacs; this is also a valid judgment for realistic literature and art. Therefore, art and literature essentially focus on the social human and therefore the essence is a social element. However, in the contemporary bourgeois world, art and literature, which have turned away from society and humanism with complacency, have turned from rationalism to mystification and have closed the way to realism. Indeed, Western Realism and Social Realism were discussed within the realism-impressionism phenomenon in the European capitalist social orders that fueled colonialism and imperialism, but these discussions could not show a great presence within the Cold War policies of the capitalist bourgeois movements that emerged in the twentieth century, in line with the Avant-garde and Formalist Art (Formalism) understandings.
Media
Cyprus Museum of Modern Art - Faust
Faust Collection Exhibition Opening
Faust Theatre
On Painting and Art
Theory of Literary Production in Althusser and Macherey: Reality and Ideology