In I Seek The Image of Myself (2022), the work seems to chaotically spurl over isolation, ageing and what is left from loss. The abstract work bursts out like an explosion onto the composition and seems volatile, exploring the personal trauma that Durmush has been through and rising above it. The work itself does not have any area that one must focus on as the entire work implores the viewer to follow the marks of paint that Durmush has left as they shift from one area to another in fast motion.
The darker sections (the ochres and rusty colours) of this composition seem to imply a form of rebuilding as they reduce the explosiveness of the painting. The whites and blues help these colours as they resist the damage done to them and heal the painting. Despite this looking chaotic, these colours and their aggressiveness are defensive to repair, regrow and become a form of rebirth.
From its title, I am Entitled (2022) asserts its own presence and does not become a shadow that fades. The painting is bold and extremely active- the impasto layering of the paint is evident as lumps are visible and shine. Hence, this helps to give the painting a very raw and unpolished appearance, as though it is pushing back against restraint. These impasto blots, slashes, and activity create tension within the work- the colours all contrast against each other wildly and interrupt their paths. Thus, as with the previous work, the viewer is pushed into this painting and must explore with no focus on any point as the entire painting puts itself out as the focal point.
I Am A Shadow (2021) is balanced by the large, warm yellow-orange floating colour within the centre of the composition. Within this section of the painting, it seems as though a plant vein-like texture comes out, which could indicate that it is cracking or, perhaps, alive. If interpreted as a form of cracking, the yellow-orange section could be seen as parched earth or ageing skin. Otherwise, an organic structure seems to emerge from this section of the painting. Surrounding this structure are earthy green colours that seem to be the fluid that the structure floats on, containing it.
These three paintings showcase a common theme: they fight against being unknown and thus assert their own presences. They explore ageing and the solitude that it brings while also demanding a form of recognition within this solitude. Each pursues great tensions of colours and chaotic compositions—no literal forms are dissolved into the paintings.