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• Coşkun Sami

In The End, There Is No End

Despite its poetic title, “In The End, There Is No End” is more concerned with the artist’s journey than grand conclusions—namely, the journey through time, space, and layers of constructed meanings. Recent and new paintings and drawings form an ambivalent and multifaceted body of works, reflecting an attempt at a mapping effort of an age standing at the cusp of radical transformation. Defying the modernist impulse to simplify and order or the conceptual reflex to reveal hidden connections, the stories brought to light by Sami are bifurcated and open-ended.
While the artist is attentive to the history of his medium and employs juxtaposition and ‘rückenfigur’ methods spearheaded by artists like Magritte and Caspar David-Friedrich, his themes are akin to secrets lurking in a dark forest—a metaphor for a potentially dark future, yet one that should be embraced without reservations. For if we set aside our personal agencies, we will discern in the fog which surrounds us that every collapse is also a new beginning, each decay signals the emergence of new forms, and, in the end, there is no end.

Works

Coşkun Sami
Composition II ("Absentpaedia" series), 2019
Ink on paper, 35 x 27 cm.

Coşkun Sami
Supernova, 2019
Ink on paper, 24 x 30 cm.

Coşkun Sami
Skull of Dora Maar ("Absentpaedia" series), 2020
Ink on paper, 28 x 19 cm.

Coşkun Sami
Inception ("Absentpaedia" series), 2020
Ink on paper, 35 x 27 cm.

Coşkun Sami
Epiphany, 2020
Ink on paper, 24 x 30 cm.

Coşkun Sami
Function Follows Form / "Absentpaedia" Series, 2020
Ink on paper, 24 x 30 cm.

Coşkun Sami
Identity Theft / "Absentpaedia Series", 202
Ink on paper, 28 x 19 cm.

Coşkun Sami
Fade ("Absentpaedia" series), 2021
Ink on paper, 27 x 35 cm.

Coşkun Sami
Invasion, 2022
Ink on paper, 50 x 70 cm

Coşkun Sami
Tomorrow, 2022
Mixed media on paper, 70 x 50 cm

Coşkun Sami
Babushka, 2022
Mixed media on paper, 70 x 50 cm

Coşkun Sami
Veil, 2022
Mixed media on paper, 70 x 50 cm

Coşkun Sami
Anyverse, 2022
Mixed media on paper, 70 x 100 cm

Coşkun Sami
Overlap, 2022
Mixed media on paper, 70 x 50 cm

Coşkun Sami
Villa Ombre ("Absentpaedia" series), 2022
Ink on paper, 35 x 27 cm.

Coşkun Sami
Deserter, 2022
Mixed media on paper, 70 x 100 cm

Coşkun Sami
Drone, 2022
Mixed media on paper, 70 x 100 cm

Coşkun Sami
Facility, 2022
Mixed media on paper, 70 x 50 cm

Coşkun Sami
Prank, 2022
Acrylic on canvas, 130 x 97 cm

Coşkun Sami
Searching Mr. Kurtz, 2022
Acrylic on canvas, 130 x 97 cm

Coşkun Sami
Plan B, 2022
Mixed media on paper, 70 x 50 cm.

Coşkun Sami
Planetarium, 2023
Mixed media on paper, 70 x 50 cm.

Coşkun Sami
Power Grid, 2023
Mixed media on paper, 70 x 50

Coşkun Sami
Beacon, 2023
Acrylic on canvas, 114 x 142 cm.

Coşkun Sami
Destiny Chromosome, 2023
Mixed media on paper, 89 x 150 cm.

Coşkun Sami
Prop ("Absentpaedia" series), 2023
Ink on paper, 27 x 19 cm.

Coşkun Sami
Setup ("Absentpaedia" series), 2023
Ink on paper, 27 x 19 cm.

Coşkun Sami
Uncle ("Absentpaedia" series), 2023
Ink on paper, 27 x 19 cm.

Coşkun Sami
Dark Interval, 2023
Ink on paper, 50 x 70 cm.

Coşkun Sami
Ore ("Absentpaedia" series), 2023
Ink on paper, 19 x 27 cm.

Coşkun Sami
Gate, 2023
Mixed media on paper, 50 x 70 cm.

Coşkun Sami
BY Residence, 2023
Oil on canvas, 130 x 97 cm.

Coşkun Sami
Lesson, 2023
Acrylic on canvas, 70 x 50 cm.

Coşkun Sami
Rest, 2023
Acrylic on canvas, 70 x 50 cm.

Coşkun Sami
Snare, 2023
Acrylic on canvas, ⌀ 50 cm.

Coşkun Sami
Agent Orange, 2023
Acrylic on canvas, ⌀ 50 cm.

Coşkun Sami
Leftovers, 2023
Acrylic on canvas, 97 x 130 cm.

Coşkun Sami
Nueva Germania, 2023
Acrylic on canvas, 130 x 97 cm.

Coşkun Sami
Bad Seed, 2023
Oil on canvas, 97 x 130 cm.

Coşkun Sami
A Great Life Cannot be Lived in Vain, 2023
Oil and acrylic on canvas, 200 x 130 cm.

Coşkun Sami

b. 1973, Bulgaria, currently working in Istanbul, Turkey. Sami‘s paintings often incorporate architectural and historical references, while maintaining an affinity for the templates of formalist painting. His limited colour palette supports his drawing-based process, making visible an effort towards achieving pictorial and formal values. Sami‘s paintings demonstrate a nuanced blend of stylistic elements, as he navigates the space between expression, figuration and semi-abstraction. He often incorporates architectural and historical references into his work, such as abandoned buildings from the recent past, stripped of their context and historical specificity, resulting in anonymous and depoliticized homogeneous spaces. His use of muted, earthy tones creates a sense of timelessness and universality, while his brushwork and mark-making imbue the works with a sense of immediacy and urgency. Sami‘s paintings often feature a horizontally-based perception of time, with objects, rocks, organic matter, and voids occupying the same space, with interplays between light and shadow.

His practice explores the power of memory and its potential to resurge or transfigure itself into new conglomerations and physical entities, and is fuelled by an interest in the collective traumas caused by war, displacement and totalitarian regimes, abiding by a certain strain of thought within European post-war painting. Through his attempts to engage with fading or vanquished historical memory, Sami investigates the contradictions that the modernist project in all its aspects has brought, exploring collective memory as a form of storytelling by employing references and motifs of modernity, progress, regress, and the grand narratives of the past and approaching memory as a phenomenon that is intangible and abstract. In some of his paintings, he illustrates how the political is reduced to its grotesque dimension, with power struggles, flag-waving, and the reselling of imaginary dreams. His work engages in a hauntology research of its own, exploring how the agendas of contemporary societies are shaped by ghosts of the past.