TEMEL NAL – Delicate Shards Of REFLECTED LIGHT

Explosive sensual color. Thick dynamic brushstrokes.
Delicate shards of reflected light.

Temel Nal’s unique Photoworks unite the opposite forces of abstract and figurative in a powerful interaction of imagination and reality.

“I feel color, I sense light……” are the fundamentals that drive him to create his emotional and strong images. Nal has been transforming the everyday with his camera since 1996. Skylines, cars, fields of flora, architecture, Oriental Bazaars, people – all chosen subjects that he elevates from the literal, with his specific – never divulged – photographic technique. His easy relationship with intense color and powerful emotion make his work highly accessible to the viewer.

He kicks open your senses with his swathes of abstract camera “strokes”, inviting us to reconsider the values that we ascribe to the every day.
Fundamental to all his works is the astounding fact that they are not computer-manipulated. Starting with an analogue camera in the early years, he changed to digital with the advent of that new technology. All of Nal’s images have been and are the result of the technique he uses whilst taking the photo.

There is no post-production manipulation, only a minimal enhancement in the definition and color intensity of the image. Not unlike film development in the analogue era.
In a world where it is taken for granted that photographic images are incessantly enhanced, his direct-creation in situ is like a breath of fresh air. Janus-faced technology does not come into the equation. He calls this “Pure Photo Impression”. Emphasizing that his final image is pure, untampered and the exact rendition of what he was feeling at the time and place of the work’s genesis. He uses his camera – to re-quote Fox Talbot – as “the pencil of art”. This disregard of technology gives his work a highly personal, self-reflexive slant, bold and vibrant colors contained within the artificial boundaries of the canvas, tempered with the unexpected of strong, liberated emotion.

Temel Nal’s works are varied in format and come in multiples. Images are printed on canvas, satin paper, handmade paper, acrylic glass. Temel Nal is available for and has extensive experience in commissioned works.
– Paula Domzalski

New York. The city that never sleeps! Bright lights, energy, bustling nights, fevers of colour, colour, colour. It grabs you and won’t let you go. It transforms you and your lens. It holds you tight.
Everyone is touched by New York, one way or another….it touched and held me too. This series is a series of my impressions and feelings whilst walking New York in 2016. It is for all lovers of energy, light and colour.

–Temel Nal

“I am a photographic artist specializing in impressionistic images of landscapes, people, nature, objects and cityscapes.
An important fact is that none of my images are computer-manipulated. I very occasionally minimally enhance an image by making it either slightly lighter or sharper. My specific style is the result of a unique, photographic technique, which I developed, which allows me to “paint” with my camera on site.

My images are a direct result of the impressions I had at the time. I try to capture the infinite variations of our everyday reality, releasing color from its form and
creating a color-dominated, impressionistic world.
All my work is available signed, dated and numbered in Limited Editions of 7. I print on handmade bamboo paper, satin finish photo paper and with sublimation dye printing on very thin aluminium.
– Temel Nal

Central to Temel Nal’s work is the relationship between form, color and light. He draws on the influence of the original impressionists and works only outdoors, capturing everyday images of cityscapes, floral and light with his: CANON EOS5 Mark II camera.
This line of aesthetic inquiry: form, color, light is of course nothing new.
A major theme throughout the abstract art of the 20th century, it has led many a major artist on a multitude of diverse routes of aesthetic exploration.
Nal’s work, however, is singular. He uses the camera as a tool. As a brush.
He “pints” with his camera using a technique that makes his works unmistakenly recognizable. He chooses not to divulge this technique, only saying that NONE of his work is computer-manipulated. This is central to understanding his specific form of aesthetic. His work represents the relationship between himself, his ens and his object. That is the fundamental tenet and the basis of all of his work.

Read the full article on Lens Magazine Issue #52