İlhan Koman dreamed of being able to express the wonder of intricate shapes in his work and did so again and again with aluminum, wood, and stainless steel, though he found that none of those materials had the strength or flexibility suited to his vision. Finally with titanium, he was able to produce the elegant curves of his very last magnum opus, Infinity-Minus-One.
The series is at once alien and familiar. Long drawn-out sculptures which resemble skeletons, including one particular piece at the back of Egeran Gallery which is hung up among boxes with the poignancy of a carcass, command quite a bit of space in the pint-sized art space. The sci fi grays and blues of the titanium and anodized metal strips joined to one another by delicate, almost unseen bolts, create a sense of wonder that must have enthralled those who were lucky enough to see these creatures of the imagination even at the end of Koman’s life.
Former gallery assistant Seza Bali was right in commenting that the pieces “needed space to breathe” a position held by the gallery itself with Director Suzanne Egeran at the helm in its coordinated effort with the İlhan Koman Foundation to put that thought into practice in a deft placement of Koman’s works. A must see for art lovers, Koman’s Infinity-Minus-One will also be appreciated by scientists, engineers, and mathematicians who enjoy seeing their own work visualized.