Artistic Life of  Özdemir Yemenicioğlu :

Özdemir Yemenicioğlu’s first paintigs present social themes expressed by a different point of view of a dynamic teenage artist that searchs contradictory situations observed in social life and does never content with habitual and statu quo. They also  represent the influence of his time. Ideologic events lived in his youth and ideologic approaches to art are reflected on his first paintings. However irony and critical mind and especially too much loving painting were essential guides in his works.

Dating from 1985, Kybele  becomes an utopic person and a lost country for artist. He is found of her. She is not only a mythologic identity, but also is vitality. She symbolise whatever is present and noble, whatever is catchable and uncatchable. She is adored, painted and painted. He is concentrated in his unique theme. He made his paintings her country, her temple. He devoted his life to paint the goddess Kybele. But we need to say, in this passion, he never become a naive, a romantic painter of the goddess. He tryed all sort of forms, colors, techniques and combinations concerning the tools and concepts of modern art. He carried her to our time with his new artistic interpretations. 

You can see her within rocks, in the transparent tulles, in the volatile clouds, with cheer and decorative secondary, colorfull forms. Sometimes she is charmfull with her naked body, sometimes she is deitic existence with her symbolic animals. Sometimes he has combined satanic and deictic one. Sometimes she is two sisters.

         He painted her on the pseudo archeologic coins. And finally he invented  the conception of amorph canvas  and he created big pebble formed canvas.

         Özdemir Yemenicioğlu paints not only as a painter but also as a sculptor, as a archeologist of the goddes.