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http://incifurni.com/files/gimgs/th-4_2013-Pan-in-the-Buildings-Courtyard-(for-Leyla),-acrylic-on-canvas,-249-x-200-cm.jpg
http://incifurni.com/files/gimgs/th-4_2012-2013,-Changing-Wings-(for-Ayse),-acrylic-on-canvas,-200-x-249-cm.jpg
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http://incifurni.com/files/gimgs/th-4_2012My-Fathers-Umbrella-acrylic-on-canvas,-200-x-249-cm.jpg
http://incifurni.com/files/gimgs/th-4_2013,-Good-Morning-(for-Antonio),-acrylic-on-canvas,-249-x-200-cm.jpg
http://incifurni.com/files/gimgs/th-4_2013,-Experiences-at-the-Barber-1,-acrylic-on-canvas,-200-x-200-cm.jpg
http://incifurni.com/files/gimgs/th-4_2012,-A-Weird-Night,-acrylic-on-canvas,-200-x-298-cm.jpg
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SAME THING EVERYDAY

Furni repeats objects, ordinary, mundane situations to make permeable the boundaries of the visual world she has constructed.

The intimacy that is felt in Furni's single bed and match series, included in this exhibition, is the one-on-one relationship that the artist has with the subject matter, employing these objects to reflect a diaristic approach. The artist equates the bed a personal, private object with the match, something that we don't think about that much, that we identify as trash; this approach points to these two things becoming tools as depicted by the artist. In other words, as the bed and the match are represented from a similar perspective, these objects become a part of Furni's fiction; nothing more nothing less is possible.

The sense of rhythm that dominates both series underlines a continuity that is beyond the realm of the is a before and an after to the works, the production process becomes accessible for the viewers with the acknowledgment that not everything is at the exhibition space, creating an unavoidable curiosity or even a tense sense of the unknown.

The stories that begin on paper as drawings stand on their own on the canvases, abstracted. In other words, the affinity in Furni's match and bed diaries, the obsessive relationship with material has a tumultuous movement, while her canvases are made independent as they move these minute stories to a fictional world. Perhaps each one of the canvases can be related to the drawings; their integrity is a reflection, an anchoring of the unity of Furni's visual and intellectual world, pointing out that Furni transforms the daily without separating herself from it. This togetherness shows that the artist does not distinguish between herself and the thing that is the same everyday; on the contrary, she works with the tension right under the surface of that lack of difference.

Furni, with this exhibition, highlights that the constructedness in painting is both a quotidian obsession and a projection of internal stories and emotions.

Merve Unsal, 2013, Rampa Gallery