Günnur Özsoy’s oeuvre shows strong aesthetic similarities with minimal sculpture. At the same time, it differs from minimalism’s belief in formalism, as it deals with personal thoughts and stories. Her work is also distinguished from minimalism, as she mistrusts and dislikes rational linearity, and formulates a critic against artistic perfectionism. Therefore, Özsoy’s character as an artist is based on an anarchic notion of art, which has led her to a stance against academic conservatism that frees her from any strict art historical canon. In the end, her pieces always show a striking balance of formal beauty and conceptual deepness.
The current series can be understood as continuation and radicalization of earlier sculptures, as Günnur Özsoy has found a way to work in the grey zone of our perception and understanding of reality, a sphere between consciousness and unconsciousness as well as reason and emotion. Now, she discusses the possibility of forming sculptures that are between plan and coincidence, as well as design and intuition. Using the method of molybdomancy, a traditional way of lead-pouring for foreseeing, interpreting and understanding the future, first, she produces small, abstract and organic looking lead-objects, which later function as models for much larger sculptures. These small models are the results of the interaction of hot, melted lead with water. In the moment the material hits the water’s surface, it freezes and gets formed into the most bizarre forms. These objects already have a specific aesthetic value of themselves, as they shift between organic-lyrical and expressive-dynamic abstractions. Created in polyester, and painted in various shiny colours and grey tones, the enlarging of the models and the bright colour textures support an alienation effect, which transforms the simple lead-models into great sculptures with an electrifying aura and an attractive aesthetic.
            Is it possible to create a sculpture without a draft or a design plan by just following improvisation and coincidence, which eliminates all rational and logical thinking and doing? The Surrealists e.g. tried it through automatic writing at the beginning of the 20^th century, and later, in its second half, Jackson Pollock came close to achieve it with his rather spontaneous and intuitive action-paintings. Nevertheless, the act of painting was still connected to his body, and therefore could not be absolutely coincidental. No movement of our body is without cognitive permission, as no moment of our life is independent from our conscious and subconscious. Günnur Özsoy though, went one step further in the design and production of her sculptures. The shape of the lead models is unpredictable. The moment she pours the melted lead into the water, the process of gaining a solid form does not lay in her hands. She only can evaluate the congealed result according to formal parameters and aesthetics. Here, the second part in the creation of the sculpture begins. Now, the artist has to react to the model and to decide on the form, format, size, and colour of the later sculpture. In the third and last part of her production process, she forms the actual piece in Styrofoam and then casts it in polyester. Therefore, after the first production process, which is based on coincidence and chance, the second and third ones are based on logic, ratio, and artistic intention.
             Günnur Özsoy has found a way of propelling the field of contemporary sculpture, by integrating traditional folk-knowledge, popular superstition, and coincidental form-finding with insight in the theory and practice of contemporary sculpture. Originally, it is believed that the casted lead objects would unfold the future. Now, as they are enlarged, transformed and translocated, they might reveal even more, and point into a possible future of today’s sculpture.