The word bateu, which literally means “hit” or “struck” in Portuguese, is used metaphorically to describe the sudden emotional resonance of a moment, a flash of recognition, a quiet impact, a subtle synchronicity. In this series titled "Bateu", Irmak Şahinoğlu traces those fleeting yet profound moments when life seems to wink at us, when the universe seems to whisper “now.” Her aim is to invite the viewer into an intimate reflection, a meeting point between wordless inner experience and a fresh way of seeing.
Focusing on moments that often go unnoticed because of their familiarity — yet become deeply meaningful once acknowledged — Şahinoğlu incorporates the design of traditional gallery information cards (typically placed beside artworks) into her visual language. By recontextualizing this familiar format, she emphasizes how meaning can shift when we look at something known with new eyes. Working in black acrylic on white canvas, she centers a poetic minimalism in her practice, stripping away all excess to leave only a single sentence on each piece.
In Bateu, the primary visual element is not an image in the traditional sense, but the written word itself. Rather than presenting a visual, the artist offers a sentence, an invitation for the viewer to imagine their own image through personal memory and inner vision. Each sentence acts as a call, and each canvas becomes a site of remembrance shaped by the viewer’s imagination. In this way, the viewer is no longer a passive observer, but an active co-creator of meaning.
When text becomes the carrier of a visual experience, the viewer internally reconstructs their own bateu moment. Instead of responding to an artwork with feeling, the viewer is first touched by a feeling — and from there, builds their own inner visual, their own art. This reversal is at the heart of Şahinoğlu’s poetic approach: a quiet call to remember, to notice, to feel.
This series consists of canvases accompanied by short texts. Each artwork is meant to be experienced together with a text placed beside it. These minimal texts replace traditional artwork labels and instead act as poetic triggers—sparking personal imagery and reflection within the viewer. The text is not an explanation but a visual in itself. In Bateu, words hold the place of images, inviting the viewer not only to see, but to imagine—to become a co-creator rather than a passive observer.
The sequence of works in the exhibition follows a rhythm: one canvas, followed by one text. Viewers are first invited to read the painting itself—each featuring a single sentence—then to engage with the accompanying poetic text placed beside it. There are a total of nine texts, and the exhibition is designed to be experienced in order, from 1 to 9. In this way, visitors move through the space not only visually but also mentally, following a narrative constructed through language. As they progress, they are encouraged to experience the story told through words—internally, imaginatively, and personally.
