DAVID // PENCIL ON PAPER // 68 X 101 CM // 2014
Surrounded in the sphere of a slot, day by day my mother language Kurdish seems to fade away. Previously, I had never heard of IS. This killer gang that calls itself Islamic State (IS) first began in Gaza, massacring the local population. The question is by whom IS was created and will continue and who is supporting this group. Then these murderers of defenseless women and innocent children and old people in Rojava (Kurdish areas in Syria) began to kill in the most brutal manner. With the proclamation of their caliphate suddenly saw Kurds, Yezidis Ezidinnen and confronted with the IS. With the threat if they would not convert to Islam, the IS would endeavor to erase such an important part of world civilization history. First they attacked Ezidic population living in the Sinjar mountains. Now the Kurdish enclave Kobanê is attacked in the Syrian north on all sides by the most inhuman means. How many more historical traces of people and sites which have so strongly influenced the evolution of our present civilization will be forced even in the abyss of destruction and annihilation. I am committed to see this barbaric terrorist group which has no legal or social legitimacy stopped immediately! We need to act immediately so that an impending massacre of the civilian population in the region can be prevented. I share the conviction that no human values will accept this impending massacre. In this sense, I would first apologize to my own children, my loved ones, friends and artist-colleges for the selection of this protest form, which I would not have used under normal circumstances. May way is: I am using my art and draw a never-ending massacre. During the period of protest I will forgo the use of words and speak only through my art.
OO, NO! // PENCIL ON CANVAS // 120 X 140 CM // 2015
Surrounded in the sphere of a slot, day by day my mother language Kurdish seems to fade away. Previously, I had never heard of IS. This killer gang that calls itself Islamic State (IS) first began in Gaza, massacring the local population. The question is by whom IS was created and will continue and who is supporting this group. Then these murderers of defenseless women and innocent children and old people in Rojava (Kurdish areas in Syria) began to kill in the most brutal manner. With the proclamation of their caliphate suddenly saw Kurds, Yezidis Ezidinnen and confronted with the IS. With the threat if they would not convert to Islam, the IS would endeavor to erase such an important part of world civilization history. First they attacked Ezidic population living in the Sinjar mountains. Now the Kurdish enclave Kobanê is attacked in the Syrian north on all sides by the most inhuman means. How many more historical traces of people and sites which have so strongly influenced the evolution of our present civilization will be forced even in the abyss of destruction and annihilation. I am committed to see this barbaric terrorist group which has no legal or social legitimacy stopped immediately! We need to act immediately so that an impending massacre of the civilian population in the region can be prevented. I share the conviction that no human values will accept this impending massacre. In this sense, I would first apologize to my own children, my loved ones, friends and artist-colleges for the selection of this protest form, which I would not have used under normal circumstances. May way is: I am using my art and draw a never-ending massacre. During the period of protest I will forgo the use of words and speak only through my art.
ART AND WAR // THE CUBAN // PENCIL ON CANVAS // 140 X 200 CM // 2016
About the war in Syria, I published a press release. Similarly, in September, 2014, I articulated my reflections of the war in my works of art with a plain and crystal clear language on my canvases through my invention of a unique coal drawing technique. As a continuation of my on-going art project, this project is distinguished by emotional breakdowns of the war. Dead young girls, elderly and humanity who experienced the war the first hand faced with a dramatique life survival. Coal doesn’t actually hold on canvas. The first challenge was to have the drawing stay on the canvas. What makes this technique unique is about the different shades and shadows that I create with the pencil. From close, one can see the detailed structures and levels. Only through this technique, do the portraits gain their intensity and expressivity. I work out the personality of the different shades and shadows I createw the pencil. The difficulty is to draw without any errors or correction. That’s why I have to plan everything before and then implement this drawing plan without using eraser and error.
SORROW // PENCIL ON CANVAS // 140 X 200 CM // 2016
About the war in Syria, I published a press release. Similarly, in September, 2014, I articulated my reflections of the war in my works of art with a plain and crystal clear language on my canvases through my invention of a unique coal drawing technique. As a continuation of my on-going art project, this project is distinguished by emotional breakdowns of the war. Dead young girls, elderly and humanity who experienced the war the first hand faced with a dramatique life survival. Coal doesn’t actually hold on canvas. The first challenge was to have the drawing stay on the canvas. What makes this technique unique is about the different shades and shadows that I create with the pencil. From close, one can see the detailed structures and levels. Only through this technique, do the portraits gain their intensity and expressivity. I work out the personality of the different shades and shadows I createw the pencil. The difficulty is to draw without any errors or correction. That’s why I have to plan everything before and then implement this drawing plan without using eraser and error.
FREE KOBANE // PENCIL ON CANVAS // 140x140 cm // 2014
"First they attacked Ezidic population living in the Sinjar mountains. Now the Kurdish enclave Kobanê is attacked in the Syrian north on all sides by the most inhuman means. How many more historical traces of people and sites which have so strongly influenced the evolution of our present civilization will be forced even in the abyss of destruction and annihilation. I am committed to see this barbaric terrorist group which has no legal or social legitimacy stopped immediately! We need to act immediately so that an impending massacre of the civilian population in the region can be prevented. I share the conviction that no human values will accept this impending massacre. In this sense, I would first apologize to my own children, my loved ones, friends and artist-colleges for the selection of this protest form, which I would not have used under normal circumstances. May way is: I am using my art and draw a never-ending massacre. During the period of protest I will forgo the use of words and speak only through my art."
PIRATES OF SYRIAN // PENCIL ON CANVAS // 150x150 cm // Ali Zülfikar Copyright 2015
About the war in Syria, I published a press release. Similarly, in September, 2014, I articulated my reflections of the war in my works of art with a plain and crystal clear language on my canvases through my invention of a unique coal drawing technique. As a continuation of my on-going art project, this project is distinguished by emotional breakdowns of the war. Dead young girls, elderly and humanity who experienced the war the first hand faced with a dramatique life survival. Coal doesn’t actually hold on canvas. The first challenge was to have the drawing stay on the canvas. What makes this technique unique is about the different shades and shadows that I create with the pencil. From close, one can see the detailed structures and levels. Only through this technique, do the portraits gain their intensity and expressivity. I work out the personality of the different shades and shadows I createw the pencil. The difficulty is to draw without any errors or correction. That’s why I have to plan everything before and then implement this drawing plan without using eraser and error. "Open Letter to the United Nations and the European Parliament as well as to all democratic institutions Stop the massacre of the Kurdish population in Iraq and Syria! I was born in the province Antep (Turkey), a small village. My parents gave me the name Ali Züflikar. I left the village to go to school. Up to this point my life was characterized by cave paintings. This was how my path led me to the track of art. I decided to express myself as an artist against the dirty war being waged in the country in which I grew up. My life has been significantly influenced by this dirty war. So I was forced to cancel my university studies and to leave my home and country. Now arrived as a refugee in Germany, I have been living for 17 years in Cologne. 17 years which I could have continued my artistic life. Surrounded in the sphere of a slot, day by day my mother language Kurdish seems to fade away. Previously, I had never heard of IS. This killer gang that calls itself Islamic State (IS) first began in Gaza, massacring the local population. The question is by whom IS was created and will continue and who is supporting this group. Then these murderers of defenseless women and innocent children and old people in Rojava (Kurdish areas in Syria) began to kill in the most brutal manner. With the proclamation of their caliphate suddenly saw Kurds, Yezidis Ezidinnen and confronted with the IS. With the threat if they would not convert to Islam, the IS would endeavor to erase such an important part of world civilization history. First they attacked Ezidic population living in the Sinjar mountains. Now the Kurdish enclave Kobanê is attacked in the Syrian north on all sides by the most inhuman means. How many more historical traces of people and sites which have so strongly influenced the evolution of our present civilization will be forced even in the abyss of destruction and annihilation. I am committed to see this barbaric terrorist group which has no legal or social legitimacy stopped immediately! We need to act immediately so that an impending massacre of the civilian population in the region can be prevented. I share the conviction that no human values will accept this impending massacre. In this sense, I would first apologize to my own children, my loved ones, friends and artist-colleges for the selection of this protest form, which I would not have used under normal circumstances. May way is: I am using my art and draw a never-ending massacre. During the period of protest I will forgo the use of words and speak only through my art. Ali Züflikar / painter / Cologne / 09/29/2014 "
BETWEEN TWO SOULS // PENCIL ON CANVAS // 120 X150 CM // 2016
About the war in Syria, I published a press release. Similarly, in September, 2014, I articulated my reflections of the war in my works of art with a plain and crystal clear language on my canvases through my invention of a unique coal drawing technique. As a continuation of my on-going art project, this project is distinguished by emotional breakdowns of the war. Dead young girls, elderly and humanity who experienced the war the first hand faced with a dramatique life survival. Coal doesn’t actually hold on canvas. The first challenge was to have the drawing stay on the canvas. What makes this technique unique is about the different shades and shadows that I create with the pencil. From close, one can see the detailed structures and levels. Only through this technique, do the portraits gain their intensity and expressivity. I work out the personality of the different shades and shadows I createw the pencil. The difficulty is to draw without any errors or correction. That’s why I have to plan everything before and then implement this drawing plan without using eraser and error.
LETS SMILE // PENCIL ON CANVAS // 140 X 200 CM // 2015
About the war in Syria, I published a press release. Similarly, in September, 2014, I articulated my reflections of the war in my works of art with a plain and crystal clear language on my canvases through my invention of a unique coal drawing technique. As a continuation of my on-going art project, this project is distinguished by emotional breakdowns of the war. Dead young girls, elderly and humanity who experienced the war the first hand faced with a dramatique life survival. Coal doesn’t actually hold on canvas. The first challenge was to have the drawing stay on the canvas. What makes this technique unique is about the different shades and shadows that I create with the pencil. From close, one can see the detailed structures and levels. Only through this technique, do the portraits gain their intensity and expressivity. I work out the personality of the different shades and shadows I createw the pencil. The difficulty is to draw without any errors or correction. That’s why I have to plan everything before and then implement this drawing plan without using eraser and error.
SONJA WAS IN WAR // PENCIL ON CANVAS // 100 X 150 CM // 2015
About the war in Syria, I published a press release. Similarly, in September, 2014, I articulated my reflections of the war in my works of art with a plain and crystal clear language on my canvases through my invention of a unique coal drawing technique. As a continuation of my on-going art project, this project is distinguished by emotional breakdowns of the war. Dead young girls, elderly and humanity who experienced the war the first hand faced with a dramatique life survival. Coal doesn’t actually hold on canvas. The first challenge was to have the drawing stay on the canvas. What makes this technique unique is about the different shades and shadows that I create with the pencil. From close, one can see the detailed structures and levels. Only through this technique, do the portraits gain their intensity and expressivity. I work out the personality of the different shades and shadows I createw the pencil. The difficulty is to draw without any errors or correction. That’s why I have to plan everything before and then implement this drawing plan without using eraser and error.
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