Selected works
Anyverse, 2022 Anyverse, 2022, Mixed media on paper, 70 x 100 cm
Plunder, 2012 Plunder, 2012, Acrylic on canvas, 145 x 290 cm
Bad Seed I ("Absentpaedia" series), 2010 Bad Seed I ("Absentpaedia" series), 2010, Ink on paper, 27 x 35 cm
Sumerki, 2021 Sumerki, 2021, Oil on canvas, 85 x 140 cm
Freundschaft, 2012 Freundschaft, 2012, Oil on canvas, 119 x 162 cm
Deserter, 2022 Deserter, 2022, Mixed media on paper, 70 x 100 cm
Fauna Flash, 2005 Fauna Flash, 2005, Oil on canvas, 89 x 119 cm
Residence, 2012 Residence, 2012, Oil on canvas, 97 x 130 cm
Untitled, 2010 Untitled, 2010, Ink on paper, 70 x 100 cm
Rupture, 2010 Rupture, 2010, Ink on paper, 70 x 100 cm

Djochkoun Sami is a contemporary painter currently living and working in the Istanbul, Turkey. Graduate of Mimar Sinan University of Fine Arts, Faculty of Painting, Istanbul (BFA, MFA), he is regularly exhibiting at various group shows, illustrated magazines, poetry books, theatre posters. His recent solo exhibitions were held at Istanbul Concept Gallery, Turkey and Silistra Art Gallery, Bulgaria.

Sami's paintings often incorporate architectural and historical references, while maintaining an affinity for the templates of formalist painting. His limited color palette supports his drawing-based process, making visible an effort towards achieving pictorial and formal values. His work exists in a space floating between the stylistic borders of expression and figuration. Sami frequently borrows forgotten, abandoned architectural spaces from the recent past, exposing the possibilities for the existence of anonymous, depoliticized homogeneous spaces. In some of his recent works, he strips away historicism and allusions, instead incorporating objects, rocks, organic matter, and voids that accompany a horizontally-based perception of time.

Sami's paintings reveal a cynicism towards politics, a characteristic developed from his upbringing. He employs references and motifs of modernity, progress, regress, and the grand narratives of the past. In some of his paintings, he illustrates how the political is reduced to its grotesque dimension, with power struggles, flag-waving, and the reselling of imaginary dreams. His work engages in a hauntology research of its own, exploring how the agendas of contemporary societies are shaped by ghosts of the past.

   CV & Exhibitions