OSMAN AKÇA

OSMAN AKÇA (1963), eserleri Galeri Soyut arşivinde yer alan sanatçılardandır. Galeri Soyut sitesinde sanatçının 26 eseri ve 6 sergisi kayıtlı (eserlerin tarih aralığı 2019–2025). Sitedeki eserlerinde en çok görülen teknikler: Tuval üzeri yağlı boya. Eserleri hakkında bilgi ve fiyat için galeriye danışabilirsiniz.

Born in 1963 in the Bafra district of Samsun, Osman Akça’s bond with art began in his childhood years. Deepened by the guiding interest of his art teachers during middle school and high school, this relationship became the fundamental element that determined his life’s route. His passion for painting, which started at an early age, gradually transformed into a powerful language of visual narrative.

Having settled in Istanbul in 1980, the artist carried the city’s historical texture, daily rhythm, and multi-layered spirit onto his canvases. In Akça’s paintings, Istanbul is not merely a space; it takes place as a living narrative field with its memory, light, and movement.

In his works, the artist aims to establish a timeless atmosphere through urban memory, architectural forms, and the relationships between light and color. His paintings invite the viewer to both familiar and rediscovered spaces.

Entering an active production process in the field of visual communication with the advertising company he founded in 1991, the artist blended the discipline of commercial design with his artistic intuition. This versatile experience became one of the important sources feeding his pictorial language.

Sharing his artistic journey with the audience through solo and group exhibitions since 2001, Osman Akça has participated in 8 solo and 18 group exhibitions to date. Alongside exhibitions he has held in different cities such as Istanbul and Ankara, he has also taken part with his works in international art fairs.

Osman Akça continues to produce in Istanbul and pursue his art journey with new narratives.

Koordinatlar Arasında: Güvercinler ve Bisikletler

In Osman Akça’s paintings, space is not merely a background, but memory itself. The artist’s two main series, Güvercinler and Bisikletler, make visible the silent, daily, but profound relationship that human beings establish with the city. In these series, time slows down; movement is hidden within stillness.

Pigeons have been the witnesses of cities for centuries. They perch on stone walls, squares, courtyard mosques, and old streets. Akça’s pigeons are symbols of freedom, belonging, and continuity. In these scenes surrounded by historical structures, pigeons are like living pieces of memory flying between the past and the present. Every flutter of wings recalls the timelessness of space.

Bicycles, on the other hand, are the symbol of the simplest and most intimate contact established by humans with the city. Abandoned or quietly waiting bicycles bear the trace of a journey. Even though the pedals do not turn, the sense of movement continues in the paintings. Here, the bicycle is not just a vehicle; it is a metaphor for slowing down, noticing, and breathing at the same rhythm as the city.

The strongest element connecting these two series is coordinates. By incorporating the geographical coordinates of the depicted space into each painting, Osman Akça invites the viewer not only to a visual journey, but also to the awareness of a concrete location. Thus, the painting moves away from an abstract narrative and becomes fixed at a precise point in the world. The seen landscape is no longer just anywhere, but a place that is there.

Coordinates are both a scientific and a poetic language. While offering precision and reality on the one hand, they guide the viewer between maps, memories, and personal journeys on the other. Akça’s paintings transform the question “where are we?” into an existential inquiry rather than merely a geographical one.

Pigeons fly, bicycles wait; and the city bears the trace of all times. Osman Akça’s canvases are a silent yet profound call bringing the past and the present together at the same point.