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artist collaborations

We aim to establish a horizontal, dialogue- and communication-based relationship with our artists, and act in line with their needs and their vision. Our involvement spans project development for art production, exhibitions, aligning artworks with the appropriate platforms, conducting value analyses, and cataloguing.  a deep understanding of the story of each artist as well as of their work enables us to be compelling narrators when connecting artists with art lovers/collectors.

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fulya çetin

''Çalışmalarıma konu olarak her yeri seçerek, her yere yönelerek hissettirmek istediğim duyguyu en iyi anlatabilecek, izleyeni benim dünyama çekecek imgelerden oluşturuyorum. Bu imgeyi bazen tuvale yağlı boya ile, bazen tülbent üzerine mürekkeple, bazen kağıda, bazense vizörden bakarak fotoğraf ve video tekniği kullanarak aktarıyorum. Her sergide farklı medyumları bir araya getirerek izleyenleri kelimelerin, seslerin, imgelerin daveti ile dünyamın içine alıyorum. İçerideki- içimdeki bu dünyada vicdan ve adaleti talep eden bir kadın gözü ile nesneler, yaşadığımız bu toplumda tanık olduğumuz zamanlara ait çağrışım yapan imgeler, tahakkümün türlü türlü kılık değiştirmiş halleri bulunuyor.

Çocuk parkları, usul sahil kenarları, terk edilmiş eşyalar işlevleri ile dünyamızda var olurken bomboş bir askı sırasının ya da terk edilmiş pabuçların zihnimizde uyandırdığı şey olan hüzün, geçmiş ve hatıraya odaklanıyorum.
Tozun dumanın arasından zarar görmeden uçarak geçen kırılgan bir kağıt uçak ile umutla dolduğumuz anlar hissedilirken, bu günün belirsizliği ile gittikçe silikleşen, yok olan lekelere dönüşüyor resim. Bazense çocukluğumdan beri ziyaret ettiğim salıncak ile geçmişe bakıyorum.

İç sesimin anlamla anlam-üstü arasında gidip gelen doğası, resimlerimde de soyutla gerçek, umutla umutsuzluk, neşe ile korku arasında düalitelere dönüşüyor. Bu hal resim yaparken tekniğe de yansıyor. Yüzeye hükmetmekle teslim olmak arasında gidip gelen bir diyaloğa alan açıyor.'' 


https://www.fulyacetin.com

''By choosing every place as the subject of my works, I create images that can best describe the emotion I want to make the viewer feel by turning to every place and drawing the viewer into my world. I transfer this image sometimes onto canvas with oil paint, sometimes with ink on cheesecloth, sometimes on paper, sometimes by using photography and video techniques by looking through the viewfinder. In each exhibition, I bring together different mediums and take the viewers into my world with the invitation of words, sounds and images. In this world inside me, there are objects with the eyes of a woman demanding conscience and justice, evocative images of the times we witness in this society we live in, and various disguised forms of domination.

 

While children's parks, quiet seasides, abandoned objects exist in our world with their functions, I focus on sadness, past and memory, which is what an empty row of hangers or abandoned shoes evoke in our minds. While the moments when we were filled with hope with a fragile paper plane flying unharmed through the dust and smoke are felt, the picture turns into spots that gradually fade and disappear with the uncertainty of this day. Sometimes I look back to the past with the swing I have been visiting since my childhood.

 

The nature of my inner voice, which oscillates between meaning and supra-meaning, turns into dualities between abstract and real, hope and despair, joy and fear in my paintings. This state is also reflected in the technique while painting. It opens a space for a dialogue between dominating and surrendering the surface.''

 

https://www.fulyacetin.com

The Longer the Closer
Merdiven Art Space 2021


'"The Longer the Closer" is shaped as a manifestation of an intimate solidarity, consisting of these moments in which two women share their personal stories with compassion, care, courage, sincerity and sincerity without looking face to face. The work is viewed as an animation-video constructed with the repetitions of the charcoal hair braiding ritual. In the video consisting of 517 drawings designed by Fulya Çetin, the hair is knotted, tied, hands come into contact with the hair, the braid takes shape, grows longer and each time this cycle starts again. While the artist senses the meditative depth of bonding, dialogue and intimacy, she also reflects the effect of the healing she creates in herself while drawing this image over and over again.''

DERYA YÜCEL

The Day When Mountains and Stones Cry
Atonal 9 - Barın Han 2019
Curator: Bengü Gün

''Fulya Çetin expresses the impossibility of forgetting, remembering and witnessing, not only in the immanent language of the materials and media she uses, but also by taking a distance appropriate to the deep politics of the issues she deals with.

The artist appears as a witness who connects with social traumas pushed into the subconscious and the burden of an irreparable past, who is conscious of the perpetrators of collective memory and shares the common pain with its victims, and who carries the unrepresentable into the public sphere.

Although "The Day When Mountains and Stones Cry" cannot bring back what was lost in the past, it recalls what was lost to memory and tries to capture in this "day" a hope that is not optimistic towards tomorrow.

DERYA YÜCEL