The artist connects the satin fabrics he uses as materials on the images to the common emotion of God creating humans from clay.

It is interesting to see how various artists and techniques succeed or fail with their reactions and efforts to the new. Going beyond what is beautiful and right is often a risk that an artist hesitates to take. While Bayrakoğlu's research into different materials instead of a specific paint material and meticulously reflecting this in his work can be seen as a risk taken, the artist accepts this situation as part of the production process. At the same time, the artist's close relationship with the material and craft helps to increase the impact of his works.

The artist connects the satin fabrics he uses as material on the images to the common feeling of God creating man from clay. Against the common unity that is tried to be created between the material and the subject, the effect of the work increases even more with the depth of the inconsistency and contrast between them. In the meticulously constructed paintings, the ''contrast'' between the brightness of the satin fabric and the picot stitch (as thought in society) being an act specific to women and a fighter jet defines his works. While the unity of the subject is kept secret; randomly selected elements are used as if using the weaknesses of the viewer. The images that come later force the viewer to take back and establish integrity. With the situation of the satin fabric or plexiglass galas that takes the eye out of the ordinary, the viewer is first affected by the material. The meaning finds its place when it tries to make sense of the subject. The changes in people's moods with the comparative examples between the images are the results of the desired and constructed process.

Artist's Production Method For satin paintings; Visuals are selected from photographs that may have been taken at any time during the day, the visual is separated into colored pieces with the help of the program, color tones are determined for each separated piece, colors are found one by one and prepared to dye the fabric, Fabrics dyed with the serigraphy printing method are separated into pieces as they should be and cut. Painted and cut pieces prepared with the pico setting of the sewing machine are combined. Finally, when a whole is created, the whole piece is stretched onto the chassis and becomes ready for display.

For Plexiglass paintings; For these works, the basic material is Plexiglass. Plexiglass is an acrylic-based material, lighter and more flexible than glass. There are colored or transparent types. The artist uses this material by painting it, so since it is painted on top, it is not possible for the viewer to understand that the material is Plexiglass. The reason for using it is both its lightness and its feature that allows for the most detailed cutting in laser cutting. The path to be taken after selecting the material is similar to the processes carried out with satin fabric. As in fabric paintings, the design is made on the computer, there are thousands of small pieces in this design consisting of vector drawings, these pieces come together to form the whole picture. After the design is completed, these pieces are cut with a laser. The laser machine can cut a piece of 80×120 cm at a time. When the cutting is completed, a flat plate consisting of hundreds of small pieces that are actually incomprehensible appears on the counter. These pieces need to be removed from the laser counter without falling apart. In order to achieve this, the artist covers the entire surface of this cut plate with masking tape and sticks the pieces together. In this state, the pieces brought to the workshop are placed on a table without being scattered, and each piece is numbered by looking at the computer and placed in separate boxes according to their colors. There are approximately 45-60 colors in a picture, the pieces are painted according to these colors and placed back in the same boxes. After the painting is finished, the pieces are glued to the carrier surface. When the pieces are placed, the picture emerges on its own.

Short Biography: Ramazan Bayrakoğlu was born in Balıkesir in 1968, lives and works in İzmir. He started his art education in the Painting Department of Dokuz Eylül University, Faculty of Fine Arts, which he entered in 1984. Ramazan, one of the first graduates of the department, received an education based on the experiences of extensive and talented faculty members, and after completing the adapted program, the artist became an Assistant Professor in 1989 and an Associate Professor in 1992. The artist, who adopted the field of painting, works in many art disciplines. In his works, he tries to break away from the classical painting practice and produce more conceptual works. The artist realizes his works using different materials and practices as much as possible, without adhering to a standard form. He took part in the exhibition called Freekick in the 9th Istanbul Biennial. In addition, Istanbul Meltemi, Young Turkish and German Artists, Project 4L, Elgiz Contemporary Art Museum (Istanbul, 2006), Poetica/Erotica, Galerie Perpetuel (Frankfurt, Germany, 2005), Strange Voices, Growing Through The Night, Borusan Art Gallery (Istanbul, 2005), Not Its Top, Itself, K2 Art Centre (Izmir, 2004), Point Zero of Knowledge, İletişim Gallery (Izmir, 2002).