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\r\n In his productions, Serdar Kaynak focused on elements such as duality, duality, and dual balance, \r\n especially in terms of the subjects he dealt with. We see that his work has been faithful to madness \r\n in its creation and practice, transforming them from imaginary realities into objective realities without forcing them.\r\n
\r\n He has set up the form approaches of his productions in this direction and tried to create it as a sure that completes \r\n his journey of contrast in nature and the universe. He believed in duality, in every aspect of life, and formally questioned \r\n the dilemma journey in terms of opposition-contrast. Combining the issues that are considered internally in the essence, \r\n in the form of meanings and in the content, the contrast did not shape the opposition with an emotional approach \r\n that could accumulate the contextual evaluations.\r\n
\r\n Most of their productions can be interpreted as productions in which a strong sense of form is at the forefront.\r\n
\r\n People who say art is the change and transformation trials that are affected by the continuity of life,\r\n and who move into objects within the subjects dealt with, are the clues of both the inner world and the stance in life.\r\n As a result of the contrasts captured by the artist, the subject is understood forever as mutual explanations, \r\n a movement that ends time, and a restriction-separation dilemma.\r\n
\r\n He emphasizes the importance and content of his work that is always on the ground, by saying that \r\n art should always win, with a mindset that cares about applications within the limitlessness of \r\n new searches and practices that will add immanence to their production.\r\n
\r\n The point of view of art as a language and expression development defends the point of view of \r\n the periods according to the development and production perspectives that the artist can show without repetition.\r\n
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