From Another World: Khorasan


We do not like everything that is beautiful in its own right. We need other dynamics to be able to love. "Ancient philosophy"'like, dislike' that means philia uses the word. It also means friendship, even if it is misused. The main overlooked meaning is: Enjoyment, at the beginning of friendship, is the first contact in encounter. We look for a state of being "from another world" in anything that we feel close to, sympathize with, and that will give us this impression, that is, in anything with which we can establish friendships. You may have noticed as a life experience that we can never make friends without some kind of incompetence, some kind of awkwardness. We have a certain feeling of a kind of incompetence, a kind of bewilderment, a loss of place and direction, and it directly pulls us in that direction. It is similar to this when figures in the paintings of Mustafa Horasan, one of the successful representatives of contemporary Turkish painting art, are included. The contrast between the movements of the figures and their colors first stuns the viewer. The movement of the figures, in their relationship with each other, the viewer finds himself included in the play. Resized limbs create an aesthetic chaos in intertwined bodies. We can define it as "a state of being from a world", as if they had broken away from their own world and fell into our world, accompanied by the image of that moment. Even if it is technically perfect, the image that lies in it; We get lost in the state due to deficiencies or excesses due to physiological, biological, anatomical features. When we look at it from Leibniz's point of view, the concept of "from another world" will explain itself better. Images that do not fit our perception of reality for this world belong to another world. This world has its own free grace, a different regime of movement, a completely different mechanism of movement, a fluid life… Creatures, beings, which exist by breaking through our imagination, or entering where our imagination allows, passing through them, are in a very different way from the real world. aisthesis… As Ulus Baker said, there is no need to think deeply about the concept of Aisrhesis / Aesthetics. The Greek aisthesis is simply a kind of sensation (sensation) a kind of feeling.

In the face of the limitations of the subject's conditions for the outsider, the artist finds a space where he can realize his own impulses by himself. It includes us in this area / game. In Khorasan paintings, we see a subject whose normal state is deteriorated, who has cracks in his soul, and a subject he suggested, who has become homeless and finds himself in desire. Herein lies the power of creation, the uncoded and unordered state becomes regular on the canvas.

The artist's imagination is the place where many fractures are created where possible possibilities continue at the same time. When the canvas is taken over, then all possibilities are destroyed by the painter. The artist, who goes through the process of hearing, comprehending, and creating, moves away from the chaos of possible possibilities and the result of the point he has reached is now on the canvas, in front of his audience.

Anxiety, Loneliness and Pessimism

The world viewed is no longer round, it is 4 corners. Even if the artist painted his painting once, it continues to be recreated as much as the number of people looking at it. The figure awaits the presence of the spectator or someone passing by. Because a witness is needed for the legitimacy of the pain that forms part of the figure.

In the paintings of the artist, a deterioration in the human figure is encountered. By changing the face and body arrangements, it takes something from the human being. He's going to clean up the excess from the face to show his head. Continuing with Deleuze's words, with this cleansing, what belongs to the human being is separated, and coming and going with the animal (our primitive self) is created. An indistinguishable, chaotic zone is created between animal and human.

Where the figures of his Khorasan enter, he has an effect similar to what psychoanalysis does for those waiting for him. Just as psychoanalysis helps the unconscious, the invisible surface of the iceberg to appear calmly, similarly, the artist presents the unconscious at the social level to the audience. The potentials of the work, which looks at the viewer and connects it with its orientation, and the effect that will activate what happens inside lie under this.

Pain, despair, violence, fear and loneliness in the paintings are among the most felt concepts. All these concepts arise in a crippled body, blood, or wound, often in terrible loneliness. The figures he displays in his works are actually a mirror held to the secrets of our souls.

In Khorasan's painting "The Last Day of an Eunuch", the figures are imprisoned in a circle. This place also serves as a stage. It becomes a space of the show we are looking at. This place also hides the command that indicates to the audience where to focus their gaze. The figure is retained and presented to the audience to be transformed. The pedestal/platform on which it will be processed is also a display stage where the image will be deformed by invisible forces. We see the artist's sense of isolation in his other paintings.


The closed system in which the figures stay continues to give the feeling of isolation away from the outside world. As we can see in the above work, sometimes the figure is placed within the drawn lines, sometimes it is suspended inside a cube and sometimes on a straight rod or rope. This is not only a physical isolation, but also aims to remove the figure from its natural space, to separate it from a universe of meaning, from a past and from a context, and to make it unique. The figure is now figural. In this way, the audience; he interprets the image he encounters with his mind and prevents it from reaching clichés. The figure is now free in the mind of the audience. Deleuze interprets this use of figures as "depersonalized, deterritorialized". The artist, who leaves a mostly flat ground in the rest of the painting, carries the movement from the immobile flat area towards the figure, surrounds the figure with this space and creates an inviolable sacred space. The figure is now trapped in your movement. Deleuze defines this as “the extreme solitude of figures, the extreme closure of bodies that excludes the whole viewer”.

In these two pictures in question, the contoured lines are no longer a flat area, they have assumed a new function. The body wants to go towards the dark area that we cannot see, that is, to disappear. The figure is no longer merely the isolated, but also the disfigured body. To participate in the material structure has to be dispersed in it. The fact that the figure has a necessary relationship with the material structure makes this disfigurement a destiny.

Rhythm is a vibration that traverses the body. Since sensation takes place in the nervous system, in the skin, this body is evaluated in a new perception. Deleuze said that for Bacon's figures, they are undoubtedly “bodies without organs”. The body without organs is a concept borrowed from Antonin Artaud. It would be appropriate to use the same borrowing in Khorasan's paintings.

“But now it is necessary to decide to fuck off the person. Once again—but for the last time—by placing him on the autopsy table and reconstructing his anatomy. I mean by redoing his anatomy. Man is sick because he is wrongly set up. It is necessary to decide to strip him, to scrape off that animal that itches him to death, the god and his organs with god. Because tie me up if you want, but there is nothing more worthless than an organ. When you make it a body without organs, you will have freed it from all automatisms and set it free. then again You will teach him to dance in reverse. Just like in the enthusiasm of folk balls. And this reverse will be his straight.”

(Artaud, Antonin (1999) To End God's Judgment)

The artist interprets bodies without organs by perceiving that there is nothing but existence, not as being limited by space and time, but as being itself. Coming out of a hierarchy commanded by the brain, the body reaches passion and infinite power of action. According to Deleuze, the organless body is traversed by a wave that draws levels or thresholds within the body according to variations in its width. That is, the body has no organs, it has levels or thresholds. The body without organs is represented as a vital force in the works of the artist. We use our bodies sometimes as our living space and sometimes as our prison. In the representation of this situation, the faces of the figures are erased, the organs are discarded. Only the feeling and expressive bodies, consisting of only skin and nerves, remain. Now the figure is just a feeling flesh. Meat, on the other hand, is the region of common indiscernibility of man and animal. The suffering human is an animal, and the suffering animal is a human. This is the reality of being. What the artist paints is not the face, but the head. The face is part of the organization of organs. Khorasan intends to erase the face and discover what lies beneath it, to bring it to the surface. For this, organs are subjected to some processes such as deformation, erasure, deterioration. All of these indicate that Khorasan is a painter of non-purpose, spontaneity and pure sensation in his art.


“…when the heart is filled with such thoughts, there is a kind of satisfaction that only noble souls can feel when looking at a star-filled sky on a clear night. In the general style of nature and the tranquility of the soul, the self-reflective faculty of the immortal soul speaks an unnameable language, and there are insoluble concepts that can only be felt but not described.

The artist, Kant ''Universal Natural History and Sky Theory'' challenges this concluding sentence of his work. Concepts that can be felt but not described are reflected on the canvas. The painter invites his audience by opening a new window to the reality where cognition is limited.


Deleuze, Gilles (2009) Francis Bacon The Logic of Sensation (C. Batukan, E. Erbay, trans.) Istanbul: Norgunk.

Sauvagnargues, Anne (2010) Deleuze and Art (N. Sarıca, trans.) Ankara: De Ki

Artaud, Antonin (1999) To End the Judgment of God (A. Soysal, trans.) Istanbul: April.


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