The artist describes her AydanSabb technique as follows:

I draw inspiration from the Baroque philosophy of Leibniz, intertwined with the ideas of Gilles Deleuze and the principles of quantum physics. At the heart of my technique is the concept of 'reaching unity through the labyrinthine correlations of Baroque layers and the passage between dimensions from macro to micro scales.' Renaissance and, in particular, figurative Baroque artworks have always deeply influenced me, especially in their approach to conveying essential ideas.

Simultaneously, the artistic representation of spiritual depth and geometry—woven into a symphony of colors, light, and sound that I discovered while exploring my own cultural heritage—has served as a profound source of inspiration. This, combined with the underlying philosophy of quantum physics, has driven me to synthesize this knowledge with my geomatic and scale-based vision, rooted in my identity as a geomatic engineer and designer.

In my AydanSabb oil paintings, I explore the reciprocal paths of Baroque philosophy. The subject matter of the painting is distributed across two distinct layers, each with its own labyrinthine structure. The foundation of these labyrinths is built on resonance and equivalence relationships. I believe that these two Baroque layers are more effectively expressed when intertwined, rather than in the classical approach of one layer above the other. This intertwined method allows me to better express the connection between these Baroque layers.

The core philosophy of my work is that everything originates from unity, and all elements are interconnected. In harmony with nature, ideas and concepts flow together, reflecting what I see as the philosophical foundation of quantum physics. As Leibniz once said, 'The entire universe is a pool of matter that includes different flows and waves.' In my paintings, I reflect this structure, guided by Baroque philosophy, within two main frameworks. When viewed closely, one can observe the cellular structure of ideas, principal movements, vibrations, and energy waves that arise during the creation phase of these ideas. The upper layer in Baroque philosophy, the labyrinth of spiritual freedom, is depicted here as the quantum possibilities hidden within the details of the artwork.

When viewed from a distance, at a macro scale, the forms and shapes I focus on materialize spontaneously within these energy explosions, reflecting the lower layer of Baroque philosophy. These distant-scale forms represent the central idea and its conclusions, portraying the labyrinth of continuity formed by the eternal convolutions of matter.

In essence, my AydanSabb New Surreal Barocco technique is rooted in bringing a new perspective to Baroque art by 'passing through dimensions to reach unity' from macro to micro scales through oil painting. The dynamic texture at the foundational scale, along with its color symphonies, merges to form a cohesive whole, guiding the viewer toward the labyrinth of continuity of substance. The eternal convolution is the perfection of the Baroque process.

My paintings are always spontaneous, with my preparation consisting solely of acquiring knowledge about the subject. I don’t plan the forms or shapes in advance. Technically, creating an AydanSabb painting requires considerable time. I begin by selecting the topic, then conduct extensive research, including reading articles, books, and watching films. The creative process begins when I realize that the darkness behind closed eyes is a three-dimensional, eternal canvas that can be shaped and colored by one’s own vibrations.

Once I feel prepared, I start painting while listening to relevant research or music that resonates with the subject. I work with unwavering focus until the painting is complete. The process begins with geometric preparations, which are drafts of the clusters that matter will take as they materialize from the quantum possibilities of our spiritual labyrinths. I then begin to depict the events underlying the subject, fully immersed in the topic, with emotions emerging from the colors and creating forms that I emphasize with small strokes.

Sometimes, I am so absorbed that my hands seem to move on their own, creating forms that I only recognize later. This process continues for hours until the painting is finished.

The key difference between paintings created with the AydanSabb technique and my other works is that I incorporate dimensions of time and space into my artworks through color harmonies. Form takes precedence through specific proportions, and rhythm is highlighted through volume and scale. Therefore, the colors used should define and emphasize the features of the form.

In my AydanSabb artworks, the eternity of convolutions is observed with two labyrinths intertwined. With the 'Simulated Conatus Light' I created, using the essence of matter, I produce the perception that the forms are in motion. For the first time, I am creating the light of movement itself.

All forms of art, at their core, originate from the reflection of divine harmonies. In my AydanSabb works, I want you to visually 'listen' to the topic I describe with the light of movement within Baroque fluctuations, much like listening to a piece of music.

The Simulated Conatus Light, in essence, is the light that emerges from the energy generated by the bending of spirit convolutions. I reflect this light onto the canvas as a color halo of intense energy, radiating from organic matter as charisma and charm. When viewed closely, one can observe the quantum possibilities rooted in these color halos during the moments of spiritual flexion, thanks to the Simulated Conatus Light.

I pay great attention to harmonizing colors and light with the subject matter, using vibrations and harmony to create a unique color and form symphony. The colors I use do not necessarily match those found in nature but are instead selected to enhance the form’s key features. I do not mix colors on a palette; rather, I create a crescendo of color by placing complementary hues side by side and letting them interact, forming the color in the viewer’s retina.

In conclusion, AydanSabb New Surreal Barocco is an optical illusion—a 'Simulated Conatus Light' that emerges from micro-eternity through vibrational waves, spreading toward macro-eternity. My AydanSabb artworks, with their Baroque waves and Pitoresk effect, reflect this light as it passes from the micro to the macro universe.

For the first time, Simulated Conatus Light is used in painting to express the movements of the microcosmos and the macrocosmos, guiding the viewer's eye along an unlimited and reflexive path. In my AydanSabb paintings, my goal is to reinterpret Baroque philosophy, painting its eternity—where our 'moment' is structured by love and individuality—with strokes and colors that flow through.

To me, Baroque philosophy is the only artistic philosophy that can collectively discuss nature and humanity within eternal convolutions, grounding them in scientific principles.

Aydan Uğur Ünal
Artist / Geomatic Engineer (M.S.)