[A]esthetic phenomena result whenever a wedge is driven between an object and its qualities. To be more specific, it was a matter of real object – withheld, inaccessible, concealed – vanishing from the scene while their qualities remained visible, accessible, and always revealed. As a result, the aesthetic beholder was required to step in to replace the missing real object, giving rise to a theatrical model of aesthetics: the reader of Homer’s metaphor ‘wine-dark sea’ behaves in the manner of a method actor who replaces the withdrawn sea in its absence and takes on all its various purported wine-dark qualities. In this way, aesthetics gives us a rift between real objects and what we have called their sensual qualities, a rift never made explicit in the normal course of everyday experience. Yet we also noted the existence of sensual objects and real qualities as well. Taken together in all their possible combination, the two kinds of objects and two kinds of qualities yield four separate types of rift between objects and their qualities. This quadruplicity of objects and things is one of the two themes[.] The other is the question of how objects can touch at all. Since real objects exceed the grasp not only of human theory, perception and practical action, but of every sort of direct relation, then I wonder how it is possible for one entity to influence another in any way. Obviously, I do not question the existence of such influence, but only wonder about the mechanism behind it. Given that real objects are, by definition, incapable of touching each other, we need to find a way in which they touch without touching, through some sort of indirect contact. This concept is known in OOO [Object Oriented Ontology] as ‘vicarious causation’.
Graham Harman
In his first solo exhibition at Versus Art Project, Pekin aims to redefine the traditional perception of material and painterly composition, presenting the object as an artwork itself, as well as a concept that interacts with the spectator. By explaining the state of being of objects as a practice that appeals to the senses, the artist suggests that each object is unique and presents its own reality though senses.
The exhibition, consisting of three dimensional forms and installations, allows viewers to adopt new layers of awareness by experiencing and interacting with the works. With the formation of such interactive territory between the objects and senses, one is distanced from the possibility of a constant accuracy. The concept of different, new and subjective reality emerges with the spectator's reinterpretation of the works according to their own. The newly emerged narrative presents itself as the core element of the exhibition, giving birth to different levels of perception through the performative interaction between objects, along with the spectator’s active role within the show.
Ömer Pekin displays a variety of works which interact with auditory, visual, and tactile senses, while positioning the elements of color and light as the essential materials of his pieces.
