Turki Mahmud Bik

english

was born 16 Sept. 1939 in Deir-Ezzor on the Euphrates (Syria)

Intermediate Cert. in Deir-Ezzor, Leaving Cert. in Aleppo

Studied in Istanbul

Language study in Hannover

Attended Factory Artist Schools in Hannover and Hildesheim

Freelance artist in Syria and Europe

Numerous single exhibitions in Damascus

and group exhibitions in South America and Europe

Member of the Syrian and Arabic Arts Association

Represented in the National Museums for Modern Art in Damascus,

and museums in Bulgaria, Iraq and Spain

Works in numerous Arabic, European and American private collections

Lives and works in Damascus and Frankfurt am Main

The relationship between Europe and the Orient could not and cannot be portrayed or

reflected on without misunderstandings and irratations of a religious, artistic and

political nature. There too where a direct human contact took place it was

determined by different interests and demands. Frontier crossings that could reduce

misunderstandings served and up till now serve often only the mutual cultural or

religious delimitation or even detachment.

All the more dehghtful it is that an artist like Türki Mahmud Bik tan by his life and his

production get experience in both culture groups and Causes in his works both

worlds, which are so very different, with the greatest artistic expressiveness to merge

into one identity without aestetically Offending the traditional heritage.

Mahmud Bik’s pictures dazzle. Small to medium-size frameless rectangles in the

intensive varnish-like applied colours ofthe Orient: Turquoise, violet, red, orange

and transcendizing gold tauch together removed and two-dimensional. Without

blending mixtures or intervening transitions. The motifs are the religious, huamn and

archaeological experiences of the artist from Mesopotamia who abstractively depicts

the myth of his country. The simple and ofien greatly reduced forms which are so

diffrcult to create are found repeatedly in the respective motifs, but not as multiple

prints or copies. The slender oblong female figures for which Mahmud Bik is

known, give the pictures rhytbm and structure both in their multiplication and

distinctness. Formerly in ancient traditional paintings it was cypresses and obelisks

because of their height that joined heaven and earth.

The graphic clarity of the surfaces is only pierced by the ornamental-framed Arabic

letters in black, gold or other dazzling colours. Without having to understand the ofien

philosophic-poetic and literary meaning, the beauty of the lines and arches of the

letters have almost a more impressive effect in their artistic decoration. Some letters

become manneristic created objects, initial letters or are just there because the artist

found ist form suitable..

Türki Mahnud Bik

was born 16 Sept. 1959 in Deir-Ezzor on the Euphrates (Syriaj

Intermediate Cert. in Deir-Ezzor, Leaving Cer-t. in Aleppo

Studied in Istanbul

Language study in Hannover

Attended Factory Artist Schools in Hannover and Wildesheim

Freelance artist in Syria and Europe

Numerous Single exhibitions in Damascus

and group exhibitions in South America and Europe

Member of the Syrian and Arabic Arts Association

Represented in the National Museums for Modern Art in Damascus,

and museums in Bulgaria, Iraq and Spain

Works in numerous Arabic, European and American private collections

Lives and works in Damascus and Frankfurt am Main

The relationship between Europe and the Orient could not and cannot be portrayed or

reflected on without misunderstandings and irratations of a religious, artistic and

political nature. There too where a direct human contact took place it was

determined by different interests and demands. Frontier crossings that could reduce

misunderstandings served and up till now serve often only the mutual cultural or

religious delimitation or even detachment.

All the more dehghtful it is that an artist like Türki Mahmud Bik tan by his life and his

production get experience in both culture groups and Causes in his works both

worlds, which are so very different, with the greatest artistic expressiveness to merge

into one identity without aestetically Offending the traditional heritage.

Mahmud Bik’s pictures dazzle. Small to medium-size frameless rectangles in the

intensive varnish-like applied colours ofthe Orient: Turquoise, violet, red, orange

and transcendizing gold tauch together removed and two-dimensional. Without

blending mixtures or intervening transitions. The motifs are the religious, huamn and

archaeological experiences of the artist from Mesopotamia who abstractively depicts

the myth of his country. The simple and ofien greatly reduced forms which are so

diffrcult to create are found repeatedly in the respective motifs, but not as multiple

prints or copies. The slender oblong female figures for which Mahmud Bik is

known, give the pictures rhytbm and structure both in their multiplication and

distinctness. Formerly in ancient traditional paintings it was cypresses and obelisks

because of their height that joined heaven and earth.

The graphic clarity of the surfaces is only pierced by the ornamental-framed Arabic

letters in black, gold or other dazzling colours. Without having to understand the ofien

philosophic-poetic and literary meaning, the beauty of the lines and arches of the

letters have almost a more impressive effect in their artistic decoration. Some letters

become manneristic created objects, initial letters or are just there because the artist

found ist form suitable..