Contemporary art is, to me, the question of consecrating anything to do with art and art per se, which is not complete without the viewer and its narration. Very personal response to the concerns of the present social, political world from the necessity of expressing oneself is the ultimate personal approach to my works. I am exploring different tools to translate that need for production into a form. Storytelling is my predominant conceptual reference origin to represent what I am living through. Personal founds and memories as art materials and my process transmit a sense of reality that manifests itself. My long architectural education permitted me to be experimental with the structural tools and always thinking in the context of space. My thesis subject especially helped me establish a comparative understanding of how epistemological differences of time and context are actually important to shaping cultures.
Reality – Borders
My works focus on the notion of fragmentation, reality, borders, self-reflection, self-image, anxiety, time, linearity, and rhythm through the lens of researching, collaging, painting, and mixed media techniques. I like to mesh up my determined understanding of reality by use of very personal stories, referring to neo-Dadaism and tachism, even sometimes pointillism and Islamic art in order to broke rigidity and surprise myself. The abstractness of Islamic art tradition, which is far beyond decorative craftsmanship, has an impact on my aesthetic sense. Especially paper marbling and the use of colors have certain contemporariness with its purity. I always challenge myself how to visually balance composing the main elements of the narrative and allowing dialectically-derived insights to emerge when I practice art.
Critical Dadaism is about the possibility of finding the meaning behind the absurdity. The transmission between meaning and nonsense creates dynamism, and adding the time element into my art. I like to surprise the viewer; however, it depends on their curiosity. My relationship with my art practice becomes more playful and dynamic, with multiple transitions of meanings and absurdity, as well. I can release my insecurities while feeding my pseudo-intellectualism -bringing important topics into the discourse such as identity, woman, time, culture, and ‘others’ – by means of patching mostly nonsense papers. The fun part is destroying the existing composition of the words and juxtaposing all those shredded pieces onto a completely different context. After shaping the framework, the narration starts justifying itself and complete the artistic process.
Whom I like: Irma Blank, Maria Lai, George Maciunas, Erol Akyavaş, Jacques Village, Luis Barragan, Squeak Carnwath, Yasmine Nasser Diaz, Lara Assouad, and many other contemporary artists who embrace a critical approach duly creating a new aesthetic.
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