Banner Image 1
Banner Image 1
Banner Image 1
Banner Image 1


  • 1959 - 1968 Childhood Drawings, Ankara
    Mostly black and white, some color drawings of cowboys, Indians, war scenes, spaceship, houses, jockeys, some color abstractions, done with pencil, charcoal, china ink on paper. These works have made the artist's initial debut as an international "Wunderkind" in the 60's with numerous shows in international art centers between 1963-1972.

  • 1968 - 1975 Puberty Period Drawings, Istanbul
    These works have made the artist's initial debut as an international "Wunderkind" in the 60's with numerous shows in international art centers between

  • 1975 - 1980 Paris Years Drawings
    Mostly black and white color drawings of Paris street scenes, landscapes nudes, done on paper, with charcoal or China ink.

  • 1980 – 1983 Early California Years

    Few water colors, several sketches on paper, lithographic prints, etchings are the lighter works of this very important transitional period from the Paris years to the California years.
    Small and medium size oil canvases, are followed by the legendary “Prostitute’s Room” or “La Toilette” or “The Ghost”, all oil on plywood 120x240 cm. Colages on cardboards, surrealistic images of a whirling İstanbul “İstanbul Before the Storm”. Women, portraits, landscapes are the recurrent themes Broken mirrors used with the plywood mark a very interesting paralel with Julian Schnabel’s broken plates about which the artist knows nothing at the time. These are the starting years of “Neo-Expressionism” . In 1982 Baykam’s paint gets even looser. Little by little, graffiti and spray paint is added, oil paint fades away and acrylic takes the lead. The artist needs to work faster! Spray paint also makes is entry. These are the years of the full birth of the mature “Baykam Style” as we know it today.

  • 1984 – 1985 California Maturity Years

    Works done mostly on canvas and some on paper, in Neo-Expressionist style, using a lot of graffiti, female nudes, self-portraits. The subject matters range from abstractions to personal life, sexual subjects, as well as life, death, metaphysics. The artist's struggle to be recognized by the western establishment which he accuses of being a closed club of 5-6 western country's artists, is also included in paintings such as "It's Gonna Be a Very Long Fight", "Graffiti Guy Posing in Front of His Work", "Why Me?". Spontaneous works using drips, splashes, free styled figures, rich textures. Canvases average approximately 150x220 cm (5x8 feet) and works on paper 70x100 cm (30x40 inches).

  • 1986 - 1987 Late California Years

    Baykam gets more and more involved in juxtaposing different textures together in his "Stripe Painting" Series. Bigger in size (180x300 cm or 180x450 cm) these huge works reassemble the artist's different experiences with different mediums, giving a hint of different scenes put on top of each other among which some parts have been taken away to show what's underneath. The subject matters are self-referential as well as historical. The works become more and more "conscious", leaning towards conceptualism but still remaining within the borders of the canvas. His "Inner Landscapes" series of approximately 15 works, repeat the same landscapes painted in various ways and references. The period culminates with "This Has Been Done Before", a graffiti on white plain canvas which soon became the artist's logo and later reappeared in silk-screen version in many other works. For Baykam this painting in a way sums up the whole post-modern era, where artists, gave a continuous fight to stay original after everything had "been done before" It also takes this famous line of the critics away from their artillery by stating it before they do!

  • Political Art and Photo-News-Paintings: - 1987-to Present

    After Baykam returned to live in Istanbul in 1987, half of his work became political. "The Box of Democracy" (1987), the artist's first three dimensional work was followed by several other installations exhibited "Kubilay's Room", "The Box of the Referendum" at the first Istanbul Biennial. Baykam also started a series of Photo-News Paintings on mostly political subjects in 1988. So far he has done 5 large shows with this technique:

    1988: Inner Landscapes, part two. A protest show at the Ataturk Cultural Center against censorship and torture in the period when Turgut Ozal and Kenan Evren were in power that also included three dimensional works, like "The Box of Torture", "The Obscene Box" and other "gadgets".

    1990: 555 K (27th of May Was Our First Love) A show at the Ataturk Cultural Center about the story of the revolution in 1960 and the years leading to it. A controversial look at Turkish right wing liberals who define 1960 as a "military coup d'Etat" whereas Baykam welcomes it like many other Kemalists as a revolution that opened the path of democracy in Turkey.

    1994: Kuvay- i - Milliye (Turkish Independence War) Baykam's show at the Ataturk Cultural Center about the era of Ataturk, his independence war and cultural/social achievements. Many large paintings as well as photo-news paintings, stripe-paintings and actual real weapons and objects formed the show.

  • 1987 - 1992 The Remake Serie

    Baykam had first made references to past masters in 1987 at the first Istanbul biennale, with his work "Ingres GerÔme, this is my bath". After 1989 works on paper (The Erotic Works on Paper and the Conceptual Works on Paper), Baykam started in 1989 a Remake Series mostly on canvas of works by famous artists, such as Van Gogh, Picasso, Delacroix, Monet, Gericault, Hopper etc. These "real-fakes" as Baykam called them in his show in Istanbul in 1991, were also shown in Paris (19907 and New York. (1992)

  • 1991 - 1992 This Has Been Done Before

    This serie is like a general hat on post-modernism. It is like the name of the period where the artists of the world have done their best to stay original when supposedly everything had already been done before.

  • 1995 The Car Series

    This car and road series use gigantic life-size car parts (dashboard, bumpers) as part of plywood paintings in theatrical settings. Also included were medium and small size paintings on the same subject-"driving, long distance", one of the artist's obsessions. "Forest lovers" is the central construction piece of the series.

  • 1996 “My World is So Colorful“ Series

    Abstractions that appear to be a summary and a synthesis of every style of the artist. Very rich textures and foreplay with landscape or figurative references.

  • 1998 - 2007 Art on Football : The Fenerbahce Series

    A series whose vast majority, 64 pieces are photo paintings about the history of Fenerbahce Football Club, the leading soccer team in Turkey. The works depict the full extensive history of the club with highlights on major wins and its major stars from throughout the 20th century.

  • 1998 -1999  The Transparent Layers

    A series of canvas works with very rare references to the figure or subject matter. Mostly deep, colorful works with many transparency layers and rich textures of surface. The central piece is a 1.80x2.70m painting called "A World on its Own" Large and medium sizes.

  • 1999 Inner Traces

    Series of canvas works, mostly done in 1999. A logical suite to the "Transparent Layers" with black and white photos from the artist's very personal life. The tie between the two series is the work "Reminiscence" from 1999.

  • 2000 - 2002 Girly Plots

    Bedri Baykam has exhibited in Paris the series he did in the last 2,5 years. The works were first shown at the Atatürk Cultural Center in Istanbul January 4-26, 2002. They will be exhibited in Paris at the Galerie Lavignes-Bastille during June 4-July 13, 2002 and at the Siyah-Beyaz Gallery in Ankara, September 27- October 23, 2002. The series is entitled "Girly Plots".

    Baykam presents in this recent series the works he has developed with the combination of the model shots he has done over several years and the use of different materials.

    The images either painted or printed by ink-jet processed canvas are coming together with materials such as tissues, metal plates, plastic floor coatings, papers and synthetic grass, in some multi-material collages.

    As part of these works Baykam presents either young girls stripping in interiors or models taking sunbaths in front of their swimming pool with a naked and blunt material presentation that also gives different look at photo-realism.

    In the other collages which bring together more abstract versions, materials that have not what so ever relation with each other, come to life through the contribution of timeless landscape iconographies such as the roads, ocean and clouds.

    The 150 page catalog of the show will carry essays by American writer David Applefield, Turkish art historian Levent Çalıkoğlu and New York critic Robert C. Morgan and Bedri Baykam."Girly Plots" will be the theme for the 73rd, 74th and 75th one-man shows of the artist.

    Frank magazine the Paris based international art and literature magazine, carries to Baykam’s exhibit the web:

    In the Paris leg of the exhibit, besides 15 works selected for the purpose, the 50 minute video work of Baykam, entitled “Girly Plots” was also shown.

  • 2003 - 2006 Horses and Icons

    Baykam was known with his covboy-İndian and war scenes all over the world in his early years when he entered the art scenes as wunderkind in “celebrity” status.

  • 2003 - 2006 Mind Scanning: Erotic Paper Works, Giant Composite Canvases and Cabaret Paintings


  • 2006 - 2007 Lolitarte

    The Works included in this exhibition demonstrate very clearly the way in which he enters into a dialogue with all the historical and contemporary images available to him. He is fascinated by Pop culture and by the life of great cities. He is a lower of woman, strong and independent women, but also remembers their cloistered situation in traditional Otoman society: the secret world of the Harem.

  • 2007 - 2009 4D's

    Sanatçı, son iki yıldır lens teknolojisi ile ürettiği, yükseklik, en, derinlik ve zaman faktörlerini içeren 4 boyutlu işleri üzerinde çalışıyor. Bu seri son 10 yıldaki serilerinin bir sentezi olarak karşımıza çıkıyor. “Saydam Katmanlar”, “Dişi Entrikalar”, “At Serisi” ve “Lolitart(e)” serileri son 4 boyutlu çalışmalarının ortaya çıkmasına ve boyut atlamasına büyük katkı vermişlerdir.

    Baykam, çift dijital baskı ve tual üzerindeki saydamlıkların kaçınılmaz bir sonucu olarak oluşan 4-D eserlerini üretmeye 2007 sonbaharında başladı. Bu 4 boyutlar, tual, desen, fotoğraf veya video olarak adlandırılamayacak nitelikte, baş döndürücü birbiri üzerine eklenen derinliklerle rüya özelliğine sahipler.

    Neden “4-D”? Çünkü 3 boyuta ek olarak zaman faktörü de ekleniyor. Bu eserlerde Picasso, Monica Belluci ve Baykam’ın modellerinin yanında oturuyor olabilir. 9-10 katmanın birbiri üstüne oturtulduğu bu işler sanatçının favori temaları olan erotizm, İstanbul, sanat tarihi ve pop kültüre göndermeler içeriyor. Yıllardır bilinen ve ortada olan bu malzemeyle, “keşfedilmemiş” yepyeni bir teknoloji ile ürettiği eserler sanatçının kariyerinin bir özeti olma niteliğini de taşıyor. Sonuç, 20. Yüzyıl sanatını kapsayan ve 21. Yüzyıla değinen bir sentez oluyor. Uzun zamandır var olan bir materyal böylece çağdaş sanatta yeni bir sayfaya dönüşmüş oluyor.
  • Hommage to Edward Munch

    Baykam produced thirteen 4-D works, examining Edvard Munch's works and life. Those works were first shown at the Pinacotheque de Paris Museum, together with a Munch retrospective in 2010. Following that, in fall 2010 the exhibit moved to Ankara to the

    Siyah-Beyaz Gallery. The artist takes the audience on a very special journey through time with his new technique where he makes use of his lenticular surface to obtain an amazing depth in his work. His 4-D works have been also shown in Turkey, Europe and USA since 2007 and have raised serious interest.
  • "I am Bleeding"

    Although Baykam has a very “painterly” art past and although he is one of the pioneers of the new expressionist movement, he has been doing political art through his collages, his installations and even through his 4-D lenticular pieces, since the mid-eighties.
    In his series “I am Bleeding” (or “I am being torn apart”) Baykam is exposing the great tension that the country is going through as well as the heavy threats that the Republic is facing. From Atatürk to assasinated famous researcher/writer Uğur Mumcu, from the famous CHP deputy of the 50’s and 60’s Dr. Suphi Baykam to revolutionary student leader Deniz Gezmiş sentenced to death in 1972, from world known organ transplant doctor Prof. Mehmet Haberal to the legendary editorialist of the Cumhuriyet newspaper İlhan Selçuk, from İsmet İnönü, the second President to Doğu Perinçek, the enjailed leader of the Worker’s Party, from Cumhuriyet chief-writer Mustafa Balbay to the writer politician Tuncay Özkan all those iconographic well known figures are getting intermingled with abstract and conceptual art.
    The broken mirrors glued to the surface of the works have cutting edges on both sides and are “dangerous” material. But on the other hand, the viewers see their own reflections on these surfaces so that they canget  identified with the problems involved.

    The tension and depression that is lived through, is not just the problem of those that are “guarding the Republic” in the prison cells in Silivr,i but the problem of every citizen living in this country.