*Tondal's Vision: The Valley of the Exhausted and Perspiring*. project direction Louis-Jack & **JAK SKOT**, 3D painting & CGI Enes Güç, choreography Magnus Westwell, latex garments HYDRA

Coming from a past in painting and fine arts, Enes Güç is a digital artist from Bursa, Turkey. Currently based in Berlin, Güç developed a personal imagery where different times, realms and realities merge together. The complexities of human emotiveness and experience in different life phases is one of the main theme in Güç’s own visionary images, playing up with different temporalities and materialities, also as a reflection on the ever-changing frenetic reality we live in. At a time in which production is intimately tied up with bodies exploitation, the events in Güç’s paintings freeze in ecstatic movements: “the vibration of stillness is very powerful to me” states. A personal withdraw of the artist’s life experiences is at the base of the Tales serie, thus being familiar in its questions on success, pain, healing, growth. Characterised by the combined form of the written poem within the visual environment, they’re distinguished by the construction of a world made of both digital and physical presences, retrieving some details from classic art tradition, due to their previous academic experience in Fine Art.

*Unforbidden Pleasures*. Enes Güç & Evelyn Bencicova, latex garments HYDRA

Involved in complex narrative entanglements, the subjects live in staggered and converging timelines, in which the bodies are eventually brought back to a single entity reflecting different possible perspectives on life events. And even if sometimes they’re gigantic manifestation, what is revealed is the fragility of the scaffolding holding the human ego; facing fears and human desires are part of the transformative process leading to constantly becoming something else.

On the role of technology nowadays, for Enes Güç is not just a tool for creative exploration but also for self discovery: “I believe humanity needs to work on itself at this point more than working on technology in order to balance the power dynamics within their relationship.”

*Work In Progress*. Enes Güç & Evelyn Bencicova for New Viewings, latex garments HYDRA

For Coeval, Enes Güç presents a preview of a new project which will be exhibited at Frieze Gallery (London) in May; with Güç’s visual contribution for 3D painting and CGI, Tondal’s Vision: The Valley of The Exhausted And Perspiring is a project by Louis-Jack & Jăk Skŏt, in collaboration with choreographer Magnus Westwell and bespoke latex garments by HYDRA.

I was surprised by discovering that some of your earlier works include project collaborations for other artists (such as Marina Abramovic or Jeff Koons). Then your direction became way more personal and individual. How did your path in art making develop over the years and what is your practice focused on right now?

It sometimes takes quite a long time to accept and appreciate who we are. I realised I was not living my own truth for a long time and I was running away from my own past to become someone else. Then I decided to accept the roads I took and use them instead while leaving behind some learned behaviours, ideals and fears which did not belong to me anymore. To understand the development of my practice I will give you a quick walk through of my journey.

As a child I would lock myself in at home and draw all day long. I kept doing this until I found a fine art high school where İ could study painting. (Surprisingly we have a couple of those in Turkey). There I played with many different mediums. I also met with 3D while I was still in high school and I taught myself the basics. Finally there was a space where I could create my own reality freely because I never felt like I belonged to any. I was very into fantasy, so I think I wanted to become some kind of a magician to set myself free. Then I decided to move into 3D in my University years which felt right because I was so stuck with all the techniques and rules which were developed in the whole history of painting and later on projected onto me. Therefore I continued with 2D/3D animation. After university, I went into the commercial side because that seemed like the only way at that time for me. I was not really sure what it is that I had to say which gave me this drive to wake up every morning so I took my time to develop my skills while discovering parts of myself which I did not accept before I guess. I also detached myself from all kinds of classic art education and fantasy to find another place to see the world differently. The Marina Abramovic and Jeff Koons projects were the first ones in the 3D company I started to work for when I moved to Berlin. I worked on many different things from creating digital doubles to full cgi music videos, games and work of such artists etc. I tried as many things as I could. I also needed to work there since I’m not an European citizen but I’m very thankful that I could learn everything I have learned and met such amazing people who are still very important to me and helping me a lot through my journey.

When it comes to my focus, I think everything I’ve done so far got mixed into my work which feels very peaceful but I’m still full of curiosity about other realities and experiences. I’ve lately been working on a script which I plan to bring to life in a combination of many different mediums. Finally, I think time has come for me to set myself even more free from the limits I’ve set myself with everything I did in the past. While I feel quite grounded by the knowledge I gained over the years, I feel the need to shake that off and go beyond it to rediscover life with a wider perspective.

***Tale Of Succession.*** Enes Güç, lettering Zeynep Schilling, latex garments HYDRA

Technically speaking, within 3D software there are infinite possibilities of creation yet to discover; thus it is clearly visible the influence of some elements retrieved from ancient classic arts, in order to mix details belonging to different realms and times. What ties you to this methodology?

First of all, I usually try to create a space where all versions of myself can exist together in peace and harmony as many of us do in different ways. Naturally my perspective is shaped by my past but my past is also being reshaped by my current consciousness. The details in my work reveal themselves when you show interest and care. Our perception changes when we look at them singularly or collectively. I find it quite necessary to feel a connection between all the elements I use because maybe it took me a long time to discover and accept different elements in myself. Therefore connecting different times, realms and realities is a way to feel peaceful for me. Creating different levels of perception at once in the same space is very comforting.

Also, even though it is very important to be curious and look for new ways to express ourselves, what really matters in the end is the reason behind these expressions and the concepts. I believe humanity needs to work on itself at this point more than working on technology in order to balance the power dynamics of their relationship. I guess while diving into deeper parts of softwares, I’m trying to find those infinite possibilities in myself through spirituality at this point. I think the rest follows naturally.

***Tale Of Letting Go.*** Enes Güç, latex garments HYDRA

Human presence is something you reflect on in different ways. As in Work in Progress (2020), realised with Evelyn Bencicova for Barbara Thumm Gallery in Berlin, massive scanned bodies occupy the gallery space in messed up position, supported by thin intricate scaffolding. In terms of content and process, what draws you to the human subject and to this technique of using real bodies and transport them into a digital environment?

In the beginning of the creative process of my 3D paintings, I usually just imagine the main feeling that I want for the work and that brings a pose or a movement in my mind or vice versa. But in this case I was working together with Evelyn so our process shaped itself naturally as it always does.

For me each of the bodies in my works are almost like the same person in different stages or phases in the timelines. I will open that idea up later more but I started to show my own experience through different bodies. I also like the idea that with dynamic poses I can show motion in a frozen point of time. Even though it is a still image, you can see the past, present and predict the future while the bodies get combined with their surroundings. We all are constantly in a flow and we continuously change and move in time. I like to capture that in stillness with bodies.

When you 3D scan a body, the model has to stay statically for a while and I find it fascinating to see them in these twisted poses and trying to keep it together. All their muscles are shivering while their bodies stay still. The vibration of stillness is very powerful to me. And trying to find a pose that works emotionally and physically that models can hold is quite a challenge. As an Aries, I like to go against and play with physics in general I think. That might be one of the reasons for my practice turning into 3D in the first place…

Human desires, fears and the consequences of growth are at the centre of the series of Tales - Tale of Succession, Tale of Letting Go, Tale of All Victories - recounted through the combined form of written words and visual imagery. Which stories inspired the themes behind these 3D paintings?

I see each of them as a different realisation in my life. Where I reflect on all the things I've learned. There are so many things I can say about them but mainly I created them as a reminder of the lessons I did not want to repeat ever again.

Tale of Succession is the first one where I was at a place full of questions and fears. What does it take to be successful in the era we are living in? Do we have to turn ourselves into something else in this speedy ever-changing reality just to be seen or to get attention. When you look at the figures you see an imagined timeline of events. The model who is questioning and being hesitant at the left side is the same model who sees the outcome of their fears at the right side. The one who gets carried away out of the frame. Every figure in there is the main figure because they all are the imagination of someone. But you can not know who is imagining who.

Tale of Letting Go is when I realised that I was the one who limited myself with all the questions and fears which were coming from some events or people in my past. And I had to let them go to be able to heal. If you look at the figures on the ground holding the lights in their hands, you can trace back the source to the tears of the death mask of Louise, Queen of Prussia. It gets transformed from the fountain to the water on the ground, and then to the hands of the person holding it. To only show itself when the right time comes. And all these transformative materials make the transmission possible. There I started to have some sort of a shift from pain into hope.

Tale of all Victories is part of the process which comes after that. While working on this one, I realised having constant fights left me naked in a wild world burning from every side without any protection. I felt that I came up to another realisation when I finally recognized how much I lost with all my winnings till that point. I understood that it was not about winning, it was about becoming. And there is nothing to be afraid of being naked as long as you don’t burn everything around you while trying to win.

The third and last one, the Tale of All Victories, went forever lost due to an accidental event - which is curious since its theme was centred on loss after victory. What remains of a disappeared and irretrievable work?

This was very difficult for me to accept since it was not finished at all. I usually work on these paintings for quite a long time with heavy feelings, so much thinking, care and trials that it took me a long time to get over it as well. It is interesting that I had to lose that to learn my lesson. Then I was like “okay this one is actually over. It is lost. That was the point. I have already learned to let go”. So what remains of it is my learnings and a preview of it. So be it.

Nine-sum Sorcery, portraits. project direction LABOUR for Atonal 2019, visuals Enes Güç, Evelyn Bencicova & Zeynep Schilling

In 2019 you collaborated on the visual artworks for the first music project by LABOUR, landed at Berlin Atonal in the same year with the project “nine-sum sorcery”. As commission and collaboration is an important part in your production, how do you deal with working on and with other people’s ideas and still contributing with your own vision, especially in this case where images are the mutual support to a sonic dimension?

For nine-sum sorcery we were working quite conceptually since the beginning. The whole piece was inspired by Reza Negarestani’s Cyclonopedia including the visual aspect of it.

There were many things I wanted to try as well so I just sat on it together with my collaborators and dear friends Evelyn Bencicova and Zeynep Schilling after many amazing conversations we had all together as a team. LABOUR created that space for us so basically we all were only focusing on the concept and we did our best till the deadline.

It was the first time I have experienced a live performance and the scale of it was truly mind blowing. To see my work on a 17 metre long screen connected to the sound and vocals and by such talented artists in a place like Kraftwerk was just incredible. Probably I will never forget this experience and I’m looking forward to working on more live performances such as this.

But in general, I try to build a common ground with whoever I work with where I also can feel satisfied with what I do. I think I can be a very decisive person so it helps me to break my rules and be more flexible while learning how to compromise in a healthy way. I’m grateful for being able to do that.

Nine-sum Sorcery. project direction LABOUR for Atonal 2019, vocals Hani Mojtahedy, visuals Enes Güç, Evelyn Bencicova & Zeynep Schilling

Speaking of collaboration, you are specially previewing here a new project, Tondal's Vision: The Valley of The Exhausted And Perspiring. How did this project come to life?

Close to the beginning of 2021 Louis-Jack and Jăk Skŏt sent me this amazing treatment for a short film and asked me if I would be interested to collaborate to do a full CGI part within it. And from there we had many conversations together about the approach and the whole process was just naturally evolving and developing in its own time. I’ve been wanting and planting seeds for a moving 3D painting so it was perfect timing. We have now finished the screen test for it.

The whole idea of the film is based on 'Vision of Tondal' a mediaeval manuscript written by an Irish monk living in a monastery in Germany. Later on it was commissioned and brought back to the surface again by Margaret of York around the 1470s in France with the most beautiful illuminations by Simon Marmion. In the story, Tondal is a wealthy Irish knight who passes out at a feast and goes into a deep dream-journey through Hell, Heaven and Purgatory guided by an angel. The experience turns Tondal into a pious man.

And now the film is a contemporary take on the story and it’s transferred within clubbing culture. In a club our version of Tondal experiences a journey through the connection he has with the crowd. And I get to do the part where we go through different scales and stages of his consciousness. It’s only the screen test so far but I’m thrilled to be working on this with such an amazing team.

The 3D painting I made for the project brought itself to life while I was trying to create images showing the styling by my dear friend and collaborator AGF Hydra. Then I decided to create a stage where many of those different stages exist together around our beloved Tondal in a frame from the original illuminations.

***Vision*** of ***Tondal***, film still.

Despite the enthusiasm for profit regarding NFTs in general, what is your experience with this new opportunity? Does your approach to art-making change when it is intended for the NFTs market?

I was quite hesitant in the beginning but now I do enjoy the challenge and creating in this medium but I have to say sometimes it feels more limiting than it is freeing. even though I’m aware that it's the opposite for many people. So far yes, it did change my approach a bit but I’m finding ways that feel right for me as well.

Although The NFT projects I’ve been working on so far turned out to be successful, I usually do those as collaborations since that gives me another perspective to the whole community. I don’t see NFTs as final artworks at this point but a reflection and part of something bigger. So far, creating NFTs connected to bigger projects and using this medium as another branch to support those projects have been more fruitful for me. But this view can also change anytime.

My latest work about Tondal’s vision will be exhibited and auctioned in the Frieze gallery in London soon. Which is super exciting!

Saint Dilara Beach Club. collaboration of Dilara Fındıkoğlu, Enes Güç, Zeynep Schilling. sound LABOUR

I noticed that recently you evaded the grid workspace of the virtual 3D environment to embrace the material comfort of sculpting as a therapeutic tool from screen overconsumption, which in your case is even your work dimension. Is Shy Dragon a fresh start to other artistic inquiries? Besides this, do you have any upcoming projects?

I’m usually stepping into many different worlds. So far I have done many different things from creating a magazine, making music videos to designing products etc. I really enjoy the constant change in my creative process. It just comes from my needs for change and experiment.

I always felt unsatisfied by the digital nature of my work since I’m tied to computers most of the time. After all that effort and thinking everything you do is just on the other side of the screen. I tried many things to overcome this problem. At some point I went into 3D printing so I could hold my creations irl but it also didn’t fully give me the feeling I was seeking. Although now I know in some cases I can also use that medium which would serve my overall progress.

Actually I did get quite an unexpected positive reaction to my little Shy Dragon and it makes me quite happy. I think when I sculpted this lamp I needed to go inwards and find the light in myself to be able to shine again and the sculpture is a representation of that. To have a little dragon around me who is experiencing something similar helped me with the loneliness I felt at that time.

I’m sure there will be more material things to come but my goal would be to merge and collide different parts of my practices together. At the end everything I do serves the other things I’m doing. So, let's see…