Akşam Olurken / Gökyüzü Delindi
Since then, the artist strongly concentrates on revealing the meaning of colour, figure, and the essence of painting.
Following the school of painterly formalism, he does not understand art as an instrument for communicating linear messages. Karakoç rather sees painting as an independent existence that has specific formal parameters and deals with intrinsic conceptual matters. That is why the paintings are never illustrations. Indeed, they often depict horses. Nevertheless, the horses are never concrete symbols, as the artist uses them as aesthetic elements of the painting’s composition just like colour, shape, and texture. Indeed, Fevzi Karakoç dedicates his work to the artistic research of the formal and conceptual being of the art of painting to propel his work to further grounds.
In his current works, the artist reveals the process of creating a painting even stronger by increasing the grade of abstraction. That is why color became more dominant in the latest pieces. It shines from a sometimes monochrome, at other times expressively painted background onto which the artist still sets repetitive images of running horses.
The horse is a powerful symbol. It can be found in shamanism and mysticism as well as in warfare and sports. Though, in Fevzi Karkoç’s paintings, while having a significant reference to his childhood, the horses are rather formal elements of the composition. They mean a starting point of the observation and perception process, as they firstly catch the attention of the spectator. While concentrating on the horses, the eye gets lost between the numerous layers and textures of the work for discovering the power and beauty of color. Within the work, the figures lose their former meaning, as they are disrupted from their usual time and space. This is the reason why the horse figures do not function as signs, as they relate to nothing else but to the painting itself.