DUBAI.- Green Art Gallery presents “Lucid Dreaming”, the first solo exhibition of works by rising Turkish painter Ebru Uygun in Dubai. Uygunʼs show inaugurates the new 3,000 s.q.f space at Al Serkal Avenue in Al Quoz, the up-and-coming art district in Dubai. The exhibition is on view from January 10 2011 through February 12 2011.

Ebru Uygun’s work can be seen as a semaphore for the deconstruction of traditional artistic practice. Her work, while displaying many of the aspects of traditional paintings —created with paint, hung on walls, existing in two dimensions— also encompasses various practices including performance, collage, sound-making and sculpture. In her works, Uygun effortlessly combines several binaries: deconstruction and reconstruction; pulling apart and putting back together; silence and noise; chaos and order.

The artist’s practice began with the impulse to add and then later tear off strips of her paintings, the latter practice being physically arduous and leaving “scars“ on the canvas. Uygun then began to work with scissors to eviscerate her canvases before compiling the pieces back into a whole. These earlier attempts were fundamental inquiries that helped evolve her practice to where she is today.

Where in the past Uygun worked with the painting as a discrete element, today she works with four sheets of canvas, which are painted and then deconstructed by hand. The process begins with the artist tearing the painted material into strips and pasting the torn and painted strips to a traditional canvas support. Uygun also archives the sound of this performance, recording all of the disparate aural activity in the studio, from the tearing of canvas to the heavy breathing of her toil.

This process is integral to Ebru’s artistic practice. As a result colour becomes the vocabulary of the work and the work itself becomes three dimensional. Its surface, with overlapped strips and strands of glue and shreds of linen hanging from it, becomes a textural object, more akin to assemblage or collage, which is then treated with a varnish. Uygun’s canvases are thus clearly articulated through an uncontrolled system. She releases any artistic responsibility and allows the materials and the process to dictate the work.