Ayşe Ebru Eryılmaz’s practice is informed by the discipline of architecture; however, she approaches architecture not as a form to be directly represented in painting, but as an invisible structure. Architectural thinking operates in her work as an underlying system one that does not reveal itself on the surface yet sustains the composition. Line, rhythm, and continuity become the painterly equivalents of architecture. Structure exists not as something imposed on the surface, but as a backbone that organizes form, void, and flow. The relationship between density and emptiness is a fundamental constructive element in her paintings. How spaces open into one another, where they condense, and where they breathe, determines the rhythm of the composition. For the artist, emptiness is not a passive field; it is an active component that defines form and directs movement. This approach emerges through the translation of spatial awareness onto the pictorial surface. While architecture proposes a domain that resists time, painting allows for a process that evolves with it.
The tension between these two approaches is central to her practice. Works often begin with a structural framework; as the process unfolds, control loosens and intuition takes over. The line does not follow a predetermined route it transforms, repeats, and expands. These repetitions are not merely formal decisions, but a means of making rhythm and continuity visible. Time, movement, and transformation lie at the core of her work. The spiral, snail, scroll, and timeline series are treated not as symbolic motifs but as visual organizations of development and continuity. Emerging from the need to revisit the same question at different moments, these repetitions do not offer a closed narrative but instead open up a field of ongoing inquiry.
Eryılmaz employs architecture as a mode of thinking and problem-solving. The structures she constructs in painting are informed by a search for balance between the analytical nature of architecture and the intuitive language of painting. This balance functions both as a personal necessity and as a sustained conceptual investigation. Rather than confining her work to a local context, she situates it within a universal visual language. She approaches concepts such as time, transformation, and continuity as phenomena that transcend cultures and geographies. While each work can be experienced individually, when viewed together they propose a broader rhythm and flow. For the artist, this practice never arrives at a definitive point of completion. Each work exists not as a conclusion, but as a threshold an open, moving structure that leads into the next.
Seçilmiş Sergiler ve Fuarlar
2025 Sevil Dolmacı & Artopol Group Exhibition
2025 Sevil Dolmacı Fethiye Carpe Arne Group Exhibition
2024 Beyoğlu Belediyesi Çağdaş Yaşamı Destekleme Derneği, Group Exhibition
2023 Art Project, Bodrum Maji Art, Group Exhibiton
2023 IAAF FUARI, Istanbul
2023 Cumhuriyetin 100. Yılı, Group Exhibiton, F Sanat
2021 Euro Expo Art Fair, İtaly
2020 Art-ist Tuyap
