If we did not know that Lolita Asil’s paintings are based on cadavers, we could have thought that they are all three-dimensional portraits or that they were getting ready to be reborn in a preparatory phase before becoming human. In paintings with interesting details, it is as if the togetherness of human existence, infinite bodies and organs keeping them alive are shown. It is as if they join life soon after entering flesh and bone. And, as if nothing happened, they continue living in the space provided to them. As a result of the new formation they were offered, are they also at the beginning of a new absence concerning their being? Is there not something besides this life? So, in short, it is firstly to exist then to disappear … As an indispensable whole, these thoughts and concepts correspond to the factual traces within the painting and lead us to perceive them as a whole.
In this exhibition by the artist entitled ‘Infinite Life’, original paintings have been produced based on the images of cadaver parts such as head and neck on which she conducts research. As in her previous paintings, line becomes prominent again as the plastic element. In addition to the fact that the line within the paintings symbolizes life, the title of the exhibition, I think that references to latitude and longitude form quite a meaningful togetherness. After all, latitude and longitude, which assist us in finding the location of a certain thing, show the places of people as well. They are, in fact, rather pertinent to life. However, when we consider people as the exhibition, we know that the artist bases her work on people who are not with us now. We can say that this situation presents an irony in itself as well. Presenting the contrast between life and death, the existent and the disappeared with a nuance, the artist implicitly presents another ironic situation about people whom we know are dead but, interestingly, may be said to have put on a mask or are getting ready to be reborn. The slight reference to contrasted concepts reminds me of death or disappearance when the painting practice is taken into consideration. However, we cannot help saying that the artist included these people in a new life on the canvas surface.
The fact that, at the point where the artist makes us meet the paintings, we know that the people we see are not alive now adds and even requires such a perspective, that is, a different perspective on life. In the journey of life which we know ends one day, what kinds of things about ourselves or our external environment do we attach importance to or make prominent? Maybe we should offer a new approach to life with an interpretation focused on people. Life is a line, but only a thin line. Maybe new beginnings concerning a meaningful line, seeming to get broken at any time, may be made. However, after all, it should not be forgotten that the people facing us in such a pose as if they want us to remember their lack are now across us within the richness of images pertaining to a painless life. With their closed faces, which seem ready to open at any time, they show us the end of infinite life.
Hülya Küpçüoğlu, 2009