System Painting

As a fiction and artefact of human consciousness, the wall is a constitutive element of the spaces called villages, towns and cities. Villages, towns and cities are differentiated – structurally – by a considerable amount of "fewer walls" and "more walls". Because in today's cities, words such as room, house, building, street, avenue, park gain meaning almost entirely as "spaces or spaces between walls". Accordingly, city life turns into "life between the walls". In other words, human life in cities becomes a process that appears between the walls of the delivery rooms, then flows between the walls of places such as buildings, streets, avenues, and finally disappears between the dark walls of the tombs. In this process, since the relationship established between the human self and the outside world is generally shaped by reference to the walls, the walls gain a special dimension as a manifestation (braid) of the way the "I" and the "world" are knitted together. Despite this particular dimension, it is an intriguing question why walls do not adequately penetrate the field of awareness of our consciousness in our daily lives. Could the source of this problem be related to the semiotic mediocrity (pointing beyond itself) of walls, which are a construct and handmade of human consciousness? Or is it related to the fact that the walls have already been interpreted in tradition in the sense that they are easily identified in terms of the function they perform? The construction of human consciousness is a fundamental aspect in the creation of spaces such as walls, villages, towns, and cities, which are all artifacts. Structurally, villages, towns, and cities differ from one another through the quantity of "less wall" and "more wall." In contemporary cities, words such as room, house, building, street, and park have become almost entirely defined as "spaces or voids between walls." Consequently, city life has become a "life between walls." In other words, human life in cities has become a process that emerges between the walls of birthing rooms, flows between the walls of buildings, streets, and avenues, and finally fades away between the dark walls of graves. Since the relationship between an individual's self and the external world is typically shaped through walls, walls gain a particular dimension as a manifestation of the interweaving of the "self" and the "world." Despite this special dimension, it is intriguing why walls do not sufficiently enter our awareness in our daily lives. Is the source of this issue related to the semiotic ordinariness (pointing beyond themselves) of walls, which are artifacts of human consciousness and construction? Or is it related to the fact that walls are already interpreted within tradition due to their easily recognizable functional roles?