You don’t use any colour except for black in your works, what is the reason for this? It should not be only a technical choice.
If your composition depicts a pessimistic world in respect for the dystopian future, I frankly do not know which colour should be used here.
Previously, I had works on which I used colours, I only paint black as very particular to "Building Porn". For this series, I consider the black colour to represent better the thing that I fictionalized in my head than any other colour.
I can say it makes my job easier technically; a sheet of white paper and black paint, that's it. This actually is related to the above-explained way I work. The colourlessness in my works stems from the idea to re- build with a black line by degrading all my knowledge and information to a form of line, to black as a colour, almost to the point of zero.
Recently, there is a heavy art bombardment on construction, urbanization, metropolitan life, what do you think about it? There should be an effective cause of this.
I can understand this to a certain extent. More precisely, we cannot expect artists to remain indifferent to this issue, but it is useful to look at how the artist is positioning itself when handling these issues. It may take years that the produced art penetrates the daily life and influence on it, and it may be too late for this...
The subject that we have been talking about has already strayed from the topic of an intellectual conversation or an architectural aesthetic. The subject has turned into a situation that we are frequently exposed to, effects our life, and even into a destruction that is taken place in our adjacent neighbourhood. And yet, I am not pretty sure how the art of this can be performed. However, a discourse can be developed through using the art facilities. "Ecumenopolis" movie was a good example for this. Just think about it, there is a monster in front of you only getting busy with destruction, however, it can grow by breaking down. How can you dissuade it, how can you calm it, and what can you tell it? You do not interest it. Besides, it doesn't listen to you anyway... There are times when the art is powerless: Even if the art prioritizes something, it would not effect on the other. Edward Said, who had been pondering the Middle East and Palestinian question, developed thinking, and predicted even in the times when this problem did not exist, takes a stone in hand- albeit symbolic- before the Israeli tanks which is the best example of this.I acknowledge the resistance of all kinds on this issue to be right and defend this. But, I'm of opinion that we should get a grip ourselves and should no show humanitarian reflexes on an appetizing subject for an artist. Of course, the subject has also a manipulative way. Having received art education same as you, a group of people who have been seeking to show this monster as nice and cute by utilizing the facilities of art. If your road accidentally crosses with the road of the monster, the first impression could be in a way that it is the oldest friend of mankind
You have chances to participate in the overseas exhibitions, what differences do you see in comparison with the art circles in Turkey?
In general, there are so many historical, geographical, political and so on factors affecting the art circles, I think it would not be correct to compare them with each other.
On the other hand, the answer can be completely changed depending on which art circle element will be assessed by you; is it the production conditions of the artists, the support of the private sector or art and cultural policies of the state?.. The list may extend even more. Unfortunately, even if I did not witness to the production of the foreign artists, however, from the experience I had until now, the only thing I can tell there is a lot of support in the Europe and USA in the field of art as well as science and academia. To our regret, lagging unceasingly behind is the hump of this country not only in the field of art but also in every subject. In our country, the artists cultivates themselves. Perhaps, this could be a good thing though, but I am not sure, just think that we walk on the road the others go by car. If any specific event happens to you on the road and this does not make your journey meaningful, this would be only a walking. You would be left only with your fatigue.
How did you start working with Sanatorium Gallery? What are the advantages of working with a gallery for an artist in your opinion?
I've been working with Sanatorium for two years, since 2012. Sanatorium is a young gallery that shows more experimental work and has been transformed from a producing artist initiative. I was involved at the very time when this conversion process was taken place. There has been such an experiment as making headway together, working together, and even growing together. I find this to be precious. I must be kind of lucky in this regard. It would not be right to generalize in that this is my only gallery experience, but it seems somewhat inevitable to work with a gallery especially for the newcomers of this career. Because, after graduating from school, you need a mediator in order to lead you, exhibit your works, and introduce you to the group of international or local curators, representatives of the institutions and collectors. If you do not earn money through a way apart from art, this can become a must.