Painter based in Belgium
The treatments to which Nevzat Copur subjects the pictorial elements are of several types. First there is the medium, essentially the paper, but more often the canvas, which undergoes all kinds of assaults, the traces of which are not always directly visible but are revealed in an intimate distance.
There is the far vision which defines a space, the near vision which reveals the enhancement of volumes and plans, achieved by the decision and the daring of simplicity.
As for the medium, if it varies noticeably little, it does not hesitate to resort to liquidity, splashes, transparencies to highlight the infinite spaces between shadows and lights The painter's gestures bring into play a precise repertoire of actions: scratches, scrapings, textures. Delicately arranged pencil, pastel and paint lines thus testify to Nevzat Copur's taste for vaporous and meditative climates. If Nevzat Copur's painting reminds us, in recent years, of the ardor of a teenager who discovered the intoxication of wandering and the turbulence of adventure, his new series of works makes us plunge into a quest heady identity.
We meet there silent silhouettes, enigmatic figures surrounded by hybrid signs, objects or floating fragments similar to meteorites projected into the plane of the painting.
Spaces or landscapes? Abstraction or figuration? Voluntary indeterminacy, both the implicit and the explicit, are conducive to freeing the mind from any univocity of interpretation. Edward Said defined identity as an unfinished and unstable process. For this theoretician of exile and off-center stateless person, it is often something invented or even created from scratch.
Nevzat Copur sees it neither as a tug-of-war nor a refuge. Identity is neither obstacle nor defensive position but a continual transformation, a possibility of a creative reinvention of oneself.
If painting is a tool for exploring myself, it engages and invites a dynamic and open relationship with others.

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