In the works of Hasan Fuat Sari there is a certain feature or rather something of a mood, that I am inclined to call nomadic, which more or less permeates his entire production. Notwithstanding the often abstract or geometrical forms his artistic language has a distinct narrative dimension, that incorporates echoes of a primeval past with personal layers of experience, thought and feeling. In these fusions of ancient symbols with contemporary forms of artistic expression, tradition is retained as a mean in the search for another state of mind, a transformed vision, brought together in such different shapes as for example that of a goat or a goddess of fertility. Thus his assemblages sometimes contain playful narrative fragments, while especially his later works embodies a poetical minimalism that powerfully evokes enigmatic mindscapes, changing the seemingly pure forms into tales of human adventure and experience. This strongly comes to the fore in his wheel-suites: recycled and reshaped bicycles turned into multidimensional symbols of movements in time and space, that gives voice to the metamorphoses of identity, to tensions between intimacy and universality, to visions of becoming and transcendence. His witty play with form and space also brings to mind the immaterial beauty of Ottoman calligraphy: sculpture and graphics at the same time where the wheel reads either as eye, sun, bull, movements of dance, a flight of the imagination, or a fanciful perpetum mobile - never just a wheel but often all of it in one.
