In the early 1980s Guler Kutluk started to satisfy some of her creative urges by designing and making objects, jewellery and clothes, but the desire to be an artist did not subside and after graduating from Dokuz Eylul University Faculty of Business in 1988 she decided it was time to rediscover her artistic creativity and consequently began painting in the studio of painter Dilek Misciler in 1994. Here she worked to improve her knowledge of basic painting techniques, learned colour theory and gained experience in working with various styles of paint, brushes and other painting tools until 1997.

In the early 2000s, believing it was time to move forward, the artist established her own art studio and while continuing her creative works there, at the same time she explored alternative means of artistic expression at various other art studios and expanded her skills as an artist. She also practiced linoleum print around this period.

Later between the years 2006 -2008 the artist primarily focused on charcoal and graphite drawing and attended the art studios of İzmir Art and Sculpture Museum and Gallery to advance her proficiency in line and pattern drawing techniques. Since 2010, Guler Kutluk has been continuing her works at her own art studio, as well as joining the studio of artist Sehmuz Durak, one of the graduates of State School of Applied Fine Arts (Tatbiki Guzel Sanatlar Yuksekokulu).

Kutluk, drawing her inspirations from various schools of modernism, conveys the abstractive nature of the world we live in and our notions of self with innovative aesthetic sensitivity. In other words, her works reach beyond what can be seen and expose the dichotomy between our everyday experiences and the abstract reality that lies underneath them.


2008 – 3rd Art Academy Painting Competition, jury members: Bedri Baykam and Habip Aydoğdu. Third place with “Happiness is Seeing (Mutluluk Görmek’tir)” painting.

2009 – SESAN 1st International Art Competition, “Carnival (Karnaval)” and “Time to Time (Zaman Zaman)” paintings were selected for exhibition.

The Solo Exhibitions;

-2019, Meraki 1 ‘Hal Dili’     Kırmızı Art Gallery, Kuşçular, İZMİR
-2017, Guler Kutluk Workshop Exhibition, online LEBRIZCOM
-2016, ‘Nüve’ Bozcaada Art Gallery, Bozcaada, ÇANAKKALE
-2015, ‘Pure Sense’, Marjinart Gallery, İSTANBUL
-2015, ‘Abstract Analysis’, Mustafa Ayaz Museum and Plastic Arts Center Foundation, ANKARA
-2014, ‘A Summer selection’, Keçi Cafe, URLA, İZMİR
-2010, ‘Colors pass through me’, Ege University, Ege Vocational School Art Gallery, İZMİR
-2009, ‘Spring!… and first and last and always!’ , İzmir Art Culture Center, İZMİR
-2006, Agora Art, İZMİR

The Group Exhibitions;
-2016, Karşıyaka Municipality Fair Art Gallery,Karşıyaka, İZMİR
-2015, ARTIST, 25th International İstanbul Art Fair, Marjinart Gallery, İSTANBUL
-2015, Marjinart Gallery, 35th International Interior & Decoration Fair, Lütfi Kırdar, İSTANBUL
-2015, ‘From Our Window’, Karşıyaka Municipality Fair Culture Center, Karşıyaka, İZMIR
-2014,, Year-end Exhibition, Innpark Fine Arts Area, Galatasaray, İSTANBUL
-2014, ARTIST, 24th International Istanbul Art Fair, Marjinart Gallery, İSTANBUL
-2014, ‘Young View’, BSM Turgut Özakman Exhibition Hall, ESKİŞEHİR
-2014, Marjinart Gallery, 34th International Interior Architecture & Decoration Exhibition, Lütfi Kırdar, İSTANBUL
-2014,, 2nd Jury-selection Group Exhibition, La Galeria Culture & Art Center – ANKARA
-2014,,1st Jury-selection Group Exhibition, La Galeria Culture & Art Center – ANKARA
-2013, International Watercolor Festival, Seferihisar, İZMİR
-2012, Interactive Exhibition at Gürel Recidence, İZMİR
-2009 Karşıyaka Municipality Fair Art Gallery,Karşıyaka, İZMİR


Güler Kutluk is inspired by modernist approaches. She tries to reflect the abstract reality of our world and our individual self field with innovative sensitivity, in her paintings. Her experimential style is the expression of the large possibilities abstract, free as possible of the abstract, away from the concrete to the abstract, vague and uncertain abstract. She wants to convey the possibilities and depth beyond the visible face of concrete daily life to viewer in an abstract style. She wants to reveal the hidden records in our memory with lines and shadows. She wants to make you feel and think. She wants to perceive the dimensions of the complex structure of human consciousness. She deals with the simple reality of the ordinary life. And she creates compositions that examine the abstract space by using the shadows and traces of this ordinary life in memory. According to Güler; ‘ Our effort to materialize everything throughout our lives actually distances from the facts. The abstract perspective is the way to bring us to the truth.’ For this reason, Güler’s paintings are free of concrete materials and her paintings dominated by a sense of nothingness. We can see the effort of creating a perception which can decipher the material life with an unconditional, prejudiced, universal perspective, in her paintings. Her abstract compositions invite the viewer to eternity and infinity. She makes you think of lines and shadows as you move freely, making sense of endless possibilities without meaning.Thus, she presents an infinite cosmic space to people within the framework of love, tolerance, justice, freedom and responsibility. She refers to the multitude of possibilities and the nothingness of the problems as we try to solve the contradictions and dilemmas of people in daily life. Beyond the concrete perception of the human, the universe is not as dark as it is complex and abstract.The balance and mathematics of this system, which contains many components, can offer new opportunities at every crossing alternative paths. For this reason, trying freely is the focus of Güler’s paintings. Trying to understand something in an abstract sense and to make it hapen is to feel the presence of the thing. Güler believes that in this way we can make our choices in accordance with our own self and freely. Güler draws attention with abstract compositions that direct the probabilities to try without probable social rules and prejudices registered in our limited memory.
Handan Terzioğlu
Marjinart Culture and Art Communication Consultancy Agency
September 2014