One can state numerous reasons for any art work to come true; however, it is the most inconsistent explanation if it is solely explained by love. According to this, there is no connection between being a painter and loving to paint. Because the real artist is the one who is unhappy not when he doesn’t paint but if he doesn’t throw up what he is obliged to express. However, in the branches of art like music and painting in which media and means of expression are limited for the conduct of concepts, how it is to be conveyed always transcends what is to be conveyed. If it weren’t the case, neither stilllife painting with apples nor human feelings like love, passion or hatred which are limited in number could be worked on over and over again.

Ercüment Tarhan’s paintings make the viewer think of Neşet Günal’s works all at once. Günal’s competence in identifying form with the substance and idea of the painting, has influenced many young students who have been trained in his Studio-sessions. Günal’s strong personality which is almost transformed into a magnet doesn’t allow an apprenticeship relationship and stands as a magnet on his own. Hence while the intellectual content that is expressed in exaggerated hands and feet, which refers to a language of art that transforms the figure into an idea and message in Günal’s works, Tarhan’s approach wanders in the risky region of narration restricted to the competence in figurative art. However, there are strong clues that Tarhan will accomplish a style of his own, evident in his works that prove to have been mastered by great responsibility. For example, the element of colour which is bound to objects in Günal’s works is forced beyond in Tarhan’s works, which shows that Tarhan is leading towards some creative outlets.

Hürriyet, 2 July, 1984, İzmir.