When I was in college I thought of making up a fictive artist and giving him a name and a body of work. Eventually I came around to the idea of using my own name, which had this strange distancing effect, similar to using a found object. Being a Turk was quite interesting because in a sense it was like being a foreigner.

Take two paintings by the same artist, one has a signature and the other doesn't. The signed picture is generally more valuable. The signature is almost graffiti or a tagging system, yet it can become more important than the subject.

When I was in college I thought of making up a fictive artist and giving him a name and a body of work. Eventually I came around to the idea of using my own name, which had this strange distancing effect, similar to using a found object. Being a Turk was quite interesting because in a sense it was like being a foreigner.

I don't think I ever really decided I was an artist. I went to college to learn how to think and look at art. In the end, I developed a more sophisticated misunderstanding of art.

Vintage was brilliant!

The artist has the power to signoff the work by deconstructing the work itself: I've finished this work now and I'll sign it and relegate the painting to simply something that services my signature. The painting becomes the colorful backdrop of the signature.