“[In Uluc's new paintings], he will never remain in exactly one place, but there is little doubt of the consistency of his perspective. His point of departure is always related to the gesture, but not as a purely formal exercise. Uluc has resisted this notion from the beginning of his career. Looking at these quadriteral canvases, Uluc has made more specific references to animals. For example, there is a bat ray against a two-tone aguamarine ground, a red silhouette of a cat, encoded with a yellow aura, an orange sheep, a bird with the head of a cow, a female figure on all fours. Then there are the typically amorphous, less defined mammalians, fish and fowls, the pairing of shapes, the specters, suggestive of a range of complex human emotions -recalcitrance, anxiety, mendacity, diffidence, aggressive, love, Eros, and so forth. Uluc’s color in the new quadriteral paintings are persistently bold, never subdued, nearly, but never exactly emblematic.
They always cling on the edge to abstraction -to the gesture- but often move more deliberately into allegory, into the evocation of something other than itself, the memory of something given or repressive or held in check. These are paintings that indulge us on the psychological level and in relation to nature. They are semiotic paintings -not so much through intention but through how we perceive them […]”
--Robert C. Morgan, The Phantasmagoria of Omer Uluc, Istanbul, 2002.