Structural Principles of
Visual Language
Visual Language
Research focuses on the shared visual language, compositional systems, and structural principles found in the architecture, miniature painting, and carpet traditions of the Turkic world. By comparing these structural principles with those found in crystallography, new abstract compositions and visual systems are developed.
Rather than reproducing existing forms or prototypes, the research seeks to reveal the structural logic that underlies them. Its aim is to understand the visual grammar embedded within the carpets, architectural monuments, and miniature paintings that have endured for centuries, making it possible to read, interpret, and understand these cultural expressions through their underlying systems.
The resulting works are shaped not by representational imagery, but by abstract visual languages grounded in composition, rhythm, modular organization, symmetry and asymmetry, and the relationships between forms.
According to Leyla, the creative intelligence that gave rise to the remarkable compositions and motifs found in traditional carpets still exists as part of our cultural memory. If this forgotten visual language can be understood as a grammar rather than merely a collection of motifs, it becomes possible not only to preserve tradition but also to generate new carpet elements and develop new compositions rooted in the same structural principles.
I would like to express my sincere gratitude to Siyavush Dadash, whose guidance inspired my awakening on this research journey.
Rather than reproducing existing forms or prototypes, the research seeks to reveal the structural logic that underlies them. Its aim is to understand the visual grammar embedded within the carpets, architectural monuments, and miniature paintings that have endured for centuries, making it possible to read, interpret, and understand these cultural expressions through their underlying systems.
The resulting works are shaped not by representational imagery, but by abstract visual languages grounded in composition, rhythm, modular organization, symmetry and asymmetry, and the relationships between forms.
According to Leyla, the creative intelligence that gave rise to the remarkable compositions and motifs found in traditional carpets still exists as part of our cultural memory. If this forgotten visual language can be understood as a grammar rather than merely a collection of motifs, it becomes possible not only to preserve tradition but also to generate new carpet elements and develop new compositions rooted in the same structural principles.
I would like to express my sincere gratitude to Siyavush Dadash, whose guidance inspired my awakening on this research journey.
the origin or beginning of form
GENESİS SERİES
Genesis is a series of five works that investigates the birth of form. While the structural scheme of each piece is the same, their themes are different. The artworks are all created using the same size and technique: tempera on paper, 14×20 cm (2025).
This exploration started with prototypes made from geometric shapes. The small elements
forming these shapes are derived from the crystalline structure of solid oxygen. My goal in
using the crystalline structure to depict a tree is to create a connection between form and
meaning. I intentionally avoided realistic imagery.
Each solid oxygen element is painted in a different color. This approach eliminates the
concept of “space” or “background” in the artwork—every surface is filled with elements. The
general structure of the compositions is inspired by the principles found in carpets and rugs:
frame, block, and the violation of symmetry.
To create different forms using the same element and to establish meaning between these
forms, I employed color-based techniques. One of these is the formation of color blocks by
grouping hues. I also assembled the tree prototype using rhombus-shaped blocks through a
mathematical process. Specifically, I constructed two rectangular blocks, each made up of
six rhombuses, and shifted them according to a consistent pattern. This displacement
resulted in a new form and introduced asymmetry.
From a philosophical perspective, the work attempts to build a whole from its parts. In my
view, if a tree is a part, then the forest is a whole. If Earth is a part, then the solar system is a
whole. But the solar system itself is only a part of the infinite universe. So, does
completeness truly exist?
This exploration started with prototypes made from geometric shapes. The small elements
forming these shapes are derived from the crystalline structure of solid oxygen. My goal in
using the crystalline structure to depict a tree is to create a connection between form and
meaning. I intentionally avoided realistic imagery.
Each solid oxygen element is painted in a different color. This approach eliminates the
concept of “space” or “background” in the artwork—every surface is filled with elements. The
general structure of the compositions is inspired by the principles found in carpets and rugs:
frame, block, and the violation of symmetry.
To create different forms using the same element and to establish meaning between these
forms, I employed color-based techniques. One of these is the formation of color blocks by
grouping hues. I also assembled the tree prototype using rhombus-shaped blocks through a
mathematical process. Specifically, I constructed two rectangular blocks, each made up of
six rhombuses, and shifted them according to a consistent pattern. This displacement
resulted in a new form and introduced asymmetry.
From a philosophical perspective, the work attempts to build a whole from its parts. In my
view, if a tree is a part, then the forest is a whole. If Earth is a part, then the solar system is a
whole. But the solar system itself is only a part of the infinite universe. So, does
completeness truly exist?
• N1. “Tree”
In this work, I focused on how to represent the tree prototype while staying as far as possible from realistic imagery.
• N2. “Top View”
I explored how to depict a landscape from a top-down perspective without relying on descriptive or illustrative elements.
• N3. “Dancer”
Here, I searched for a geometric prototype of a dancing figure, distilling the image of a girl in motion into form and rhythm.
• N4 “Woman I”
These works portray female prototypes seated in nature. They represent women immersed in thought—figures at peace within the landscape.
• N5 “Woman II”
These works portray female prototypes seated in nature. They represent women immersed in thought—figures at peace within the landscape.
2019 - 2023 - Archıtecture and frame
2018 - 2021 - Tesselation composıtıon
2018 - 2019 Composition
