The most important key aspect for a young artist is to work with a professional gallery. How did your path cross with Galerist?
The last 6 months I was working as an independent artist, so crossing paths with Galerist was a relief for me. If we go back 2 years to 2014, I had been working on my new series since then. Although I was attending Contemporary Istanbul art fair each year since 2008, this year I didnt attend because I didnt want to ruin the mindset I had about the unity of the works and also I was continuing the “independent artist” approach. At that time already my new series was ready to be shown but due to the fact that I was in search of the right place to show them, I didnt want to hurry and so I took my time. I continued creating without any distractions in my working hours. The new artworks were becoming more vivid. These new works required not only an exhibition space but also two other rooms. Because with these works, this show is literally my most extensive show ever. Thats why I was even more picky with the space it was going to take place.
At that time, very few people saw my recent works in my studio and when one of my friends asked me about where I wanted to show them, I didnt actually give a name but the place I was describing was Galerist. It was exactly what I wanted and the space was exactly what the artworks needed.
Then, a few months later, my friend asked me if I would be interested to do a show at Galerist, and then my works were shown to the gallery and thats pretty much how it all came into being.
How did Galerist first react to your works?
Galerist welcomed my art in the warmest way and gave me the flexibility of time that I needed. The whole team worked for this show for it to turn out exactly how I dreamt it would and they even rescheduled their yearly plan and fixed my opening date to April 7.
After a long period of no-show, today you will be opening your solo. Can you describe us a little about this series that you’ve concentrated on for some while now, what should we be expecting?
I did a lot of reading and experimenting before I actually started creating. I used my notebooks that I watercolored for visual inspiration. In the making of some artworks I used the handcutting technique on paper that I mostly use and combined it with watercolor or spray paint. I sometimes used these all three techniques together and also separately. Whatever I had done before, I used it to create new forms and I researched how to go beyond the discipline of painting.
The feeling that I expect the viewers to feel is to be able to reach out to the subconscious and then again go back and relate to the conscious.
How many artworks will be shown in this exhibition?
“Reborn” consists of works at the peak point of my 10 year paper cutting technique, including the biggest works that dont even fit my home and the tiniest that fit in my pocket, a total number of 26 artworks.
As I read through the text of the exhibition I noticed that it is in touch with psychology. The layers in the artworks are in harmony with the layers of the mind. Eventhough it is the depth you obtain from your paper cutting technique, it reminds me of the multilayered structure of the mind, conscious and subconscious. Can we say that?
If it’s about the perception differences, the subconscious, the transformation or regeneration, the best metaphor for all these notions was the cave. The cave, which deepens with each layer and where you walk through the changing lights and sounds, was the best adaptation and technique I used. Each layer that changes color and height is like the sections of the mind; in order to get to the center, one has to pass through the layers.
Can we say that we will be watching the reflections of the unconscious mind?
What is out there is inside; what is inside is out there. All the works in the exhibition are about what is subconscious and how its nature is, or could be. All the external world works are the imaginations of the subconscious. Subconscious is a valley to discover; a cave to dive into metamorphosis; these are the symbolizations of its vastness. That is why I interpreted the vast nature artworks while depicting the subconscious. What I’ve showed is the symbol of what I expressed, not itself. After all, the subconscious is symbolic. I depicted the earth and mountains with sharp forms, the woman with warm colours, the sky and the sea with soft forms and the man with cold colours. What I mean with man and woman are different in nature: male and female. As you know, both male and female nature exist in man and woman together. Woman figures are depictions of the female in the man’s subconscious; as man figures are depictions of the male in a women’s subconscious.