Attila Tursun’s solo exhibition Wildflowers opened on September 19, 2026.
Taking the “wildflower” as a guiding motif, the exhibition begins with Attila’s painting practice and their ongoing engagement with different media, extending the relationships between image, color, and material beyond the pictorial surface and into physical space. Painting no longer remains confined to the wall, but gradually moves into carpets, reflective surfaces, and installations, forming an environment that viewers can enter, inhabit, and engage with.
“Wildflower” is not a strict botanical classification. It generally refers to plants that grow spontaneously within a particular environment, without deliberate cultivation. Roadsides, wastelands, cracks between stones, and places not yet fully overtaken by constructed landscapes can all become sites for their growth. They depend on their surroundings while also responding to them; their presence may not transform the land itself, yet it can subtly shift the way a familiar landscape is perceived. This image forms the starting point of Wildflowers and offers a way into Attila’s practice.
Attila’s paintings often begin with an existing image. Film stills, photographed figures and bodies, and scenes drawn from everyday life are removed from their original contexts, then cropped, enlarged, blurred, or rendered in black and white. As specific identities, events, and locations gradually recede, the image no longer carries a complete narrative, leaving instead an atmosphere or emotional register that resists precise definition.
Over these images, Attila continues to work with acrylic, oil pastel, and various textiles. Lace, velvet, handmade carpets, and mulberry paper enter the work and become part of the image itself. Materials of different origins and textures overlap and accumulate without fully replacing what came before. The photographic image remains visible; textiles retain their own textures; oil pastel leaves direct traces of line and color. Multiple layers coexist on the same surface, creating a visual relationship that recurs throughout Attila’s practice.
This relationship gradually extends from within the image into physical space. In Wildflowers, painting, material, and natural motifs move beyond the boundaries of individual works and continue throughout the gallery. Viewing is no longer confined to what hangs on the wall, but becomes a process of moving between images, materials, and space—approaching, shifting perspective, and looking again.
