Bayram Demir

Bayram Demir was born in Kastamonu, Turkey in 1981. He studied at the Department of Furniture Decoration of the Kadırga Industrial Vocational High School. In the 2 years after his graduation, he worked with well experienced craftsmen in several furniture shops. In the year 2001, he began his studies at the Marmara University Faculty of Fine Arts Department of Painting and graduated from Hüsamettin Koçan Workshop in 2010. Following the first years of his education, he worked in textile companies, making graphic and fabric designs for print, embroidery and various accessories. He has prepared special collections for many of the industry’s leading international brands. The artist resides in Istanbul and continues his professional career as a creative director at a private textile company.

 

In parallel with his professional life, the artist took a special interest in painting, poetry, philosophy, psychology, symbolism and mythology. He studied for many years on various subjects of philosophy and psychology, conducted research and, in his own words, gave ‘modest seminars’ in philosophical associations. He wore out dozens of notebooks with poems, small stories and sketches. He designed his latest paintings, which tell his own unique philosophical and symbolic stories, in the technique he has mastered the best, namely knitted fabric, and carried out their production in fabric factories. And after many years (due to the difficulty of maintaining creative motivation and the anxiety of reduced

productivity), he decided that now his paintings should meet with art lovers.

 

It wouldn’t be wrong to say that the artist’s paintings are sum of the following concepts: graphic art, textile technology, digital painting, philosophy, psychology, symbolism, mythology, and poetry. The first of these is graphic art, in which the artist conducts his professional career. In his paintings, one can see arrangements of graphic art and traces of technical tools belonging to this field. The painter is a good “pixel art” illustrator and has developed his own various digital painting methods for fabric designs. He also has experience in creating 3d and 2d forms and compositions. All these experiences are productivity-accelerating attributes. 

 

When we technically examine the “fabric painting” collection that the artist is currently working on, we believe that these are also important works in terms of the history of textile arts. To the ones acquainted with the subject, it will quickly be noticed that the boundaries of fabric machines are being pushed during the production process of paintings, high color numbers and special yarn contents are being tried. Of course, technique and material are just a scene of art. Behind the play reflected on the stage is a story: a powerful story of emotional, mental and intuitive dimensions exists on this stage, and if it is strong enough, it can reach the deep layers of the consciousness of the audience.