In the context of human-space relations in photo-realism the rusted face of hidden spaces

Photo-realistic paintings were first exhibited in galleries in the late 1960s.In 1970, the Whitney Museum of Art in New York organized an important exhibition and introduced "22 Realistic" artists.After the exhibition, Louis K.Meisel prepared a catalogue of the works of these artists, which he called "Photo-realism", and made a five-point definition for photo-realism in this catalogue.In the early 1970s, the artists of this movement, claiming to be more meticulous about detailing than photography, are the ones who have built their streets, skyscrapers, shops and storefronts, villas with pools, cars and motorcycles, in short. Whatever exists with capitalism, they painted all these elements in their paintings, lacking emotion.Photo-realism has brought a different perspective to the relationship between people and space, especially in the human and space relationship, and the effect they give in their paintings is how human life flows in everyday life becomes ordinary in all these soulless places. In response to this understanding, using photo-realist painting language under the heading "Rusty Face of Hidden Spaces", it was about the places where workers were lost and kept their lives alive.The places where these owners are fighting against the wild style of capitalism, especially in industrial areas, with emotion and meaning, labor, sweat, struggle, labor, labor, sharing, and the places that bear the traces have been moved to the works.The message this work wants to give is that you're not going to be able to do that The shopping malls, which represent the memory of the city and society, and the people who avoid even looking at each other in the face of the soulless concrete piles of these spaces, in which people live unaware of each other. sites can be expressed in a retribution to the destructive effects of modern life in a nutshell.