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About Her Paintings

Benhabib`s works exhibit a dense sensitivity and a dynamism. First of all, she is an experimenter. This experimenting attitude, which manifests itself usually in an expressionist way, exhibits a passion for renewing itself. Benhabib has achieved great advance in a short time. In her later works, she is trying to surpass the two-dimensional world of painting. 
Her paintings have, in a sense, the depth of relieves. Thrown away objects of daily life are a common element of her works. They add a latent conceptual dimension to her works. The expressionist position of the artist thus reaches a point of explosion with an improvised intellectuality. All this endows his paintings with an extraordinary dynamism. 
On the other hand, the main characteristic of her more regular crayon and charcoal pencil works is bold contours surrounding forms rapidly changing to white through homogeneous stages.

Research Gaining Momentum within Seli Benhabib From Autobiographic Concept to Cultural Statements

In those days, Benhabib deals with the shared social and cultural values of the 20th century using those new combinations which are not reminiscent of any conventional art object and also connects the areas of sharing relating to her to the shared problematic of the masses. She taps on linguistic analyses and concepts of semieology. First of all, she considers herself as a part of the social and cultural structure within this development and then investigates the crushing impact of some concepts of the daily life and consumption language,that we often use without thinking, such as communication, software or transportation, on the human psyche. She tries to analyze cultural functions or situations within the framework of the conceptual nature of the definition of art.
The concern for technical calculation and exhibition observed in these new works of Benhabib is also observed in her previous works. She usually puts materials which have lost their function and which cannot be recycled into wooden boxes.

Levent Çalıkoğlu-1998


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