“I can immediately tell an engraver from among hundreds of painters. It is evident from the exhaustion in his eyes!” Aliye Berger It was my first year at the Fine Arts Academy. It must have been 1976. A Dutch film was screened at the school auditorium: “Rembrandt”. I remember how a thirty year old Rembrandt slowly turned the arm of a squeaking wooden printing press in a studio bathed in the yellow northern light coming in from the window, and how he later examined the wet paper on which the drawing engraved with a needle point pen on a copper plate was printed in the light entering from the window. My passion for engraving started with this scene. As a sophomore in the academy, we had to choose an applied workshop such as fresco, stained glass, tapestry, lithography or engraving complementary to the basic painting courses. Being line nut, I chose engraving. We used to draw on a little metal plate with needle point pens until our eyes were bloodshot. I called one of my first engravings “Tribute to Rembrandt”. In this engraving, I placed my self-portrait between Rembrandt and St. Jerome and the lion. And in the background, another Rembrandt engraving: the scene of the crucifixion of Jesus. My passion for engraving continued in the years following my student days; I even taught engraving at my alma mater for two years. Much later, when I started photography and making prints in the dark room, I would often recall how I used to be an engraver.

These artworks are belong the artist’s private collection and not for sale.