Safety can be defined as the state of living without fear. Despite such definitions, how realistic is the perception of safety? If we leave the constructed human universe aside, is there really a notion of safety in nature? Or is it just a fictional notion?
There’s no limit to the extent of measures humans take to feel safe. No matter how hard a person tries to secure their safety, there will always be a new threat overriding all those safety measures. This reality showcases how futile and null the efforts for safety can be. Not able to keep the door from closing, the locks are rendered useless and emphasize the vacuity of the notion of safety.
Dreaming On the Clouds II (2017) by Tanzer ARIĞElgiz Museum
Dreaming On the Clouds II (2017)
Home is both the body and the spirit. In addition to being like a wrapping within which life goes on owing to the link between the past and the present it establishes, home is also a metaphysical struct that reaches out to the memory, making us question what is real and what is not. Home is where dreams and memories are.
Female Don Quixote (2017) by Mahmut AydınElgiz Museum
Female Don Quixote (2017)
Don Quixote exists through his actions due to his cynicism and his dialectic conception between delusion and reality. The story of Don Quixote is not merely a longing for the past in the face of the negativity of changing society, it also represents an existence purely in the world of imagination he formulated to realize. In this regard, it is possible to place Don Quixote somewhere in the women's struggle and to treat each and every one of these striving women as a Female Don Quixote. Just like Don Quixote, in social history women have either been forced to give up their struggles or ignored in through an argument of 'madness'.
Contrary to Don Quixote, however, the outcome of this struggle was not failure or resignation, but practical action that realized the transformation of women in society.
Articulate (2017) by Halil DaşkesenElgiz Museum
From past to present, the links between the physical structures and the memories of the cities are torn away. The overwhelming and restrictive influence of the scale of constructions on human and habitat creates a coerced coexistence, while destroying the urban fabric on the other hand. Urbanization practices which are attempted to be articulated on social life, can be interpreted as irregularities in the whole.
Against these negative effects of the structures consisting of tall and solid masses, spaces were created where the visual impression was manipulated.
The relationship between humans and these spaces root from a misdirected sense of urbanization.
The Naked King (2017) by Şenay ULUSOYElgiz Museum
The Naked King (2017)
The sculpture, which is regarded as a critique of the feudal system, has been dedicated to all kings and false kings.
Door (2017) by Uğur CinelElgiz Museum
The sculpture crawls over the viewer’s memory and through its structure that allows transitions in space, it adds memories, fears, hopes and desperations to its form, along with an emphasis on destinations. This form is also a transition in time which establishes the physical integrity.
Door is a metaphor quoted from Dostoyevski to provide an access to the viewer's perception: Doors which do not close are like a mortal wound; everybody, even almsman, has a place to go, a door to enter, and it is this hope that keeps humans alive.
Cave (2017) by Meliha SözeriElgiz Museum
The excavator picked as an object, is associated with the spaces that are dug out and burrowed, and opens up an area concerning the missing. Regarding the etymology of the word excavator, it means digging out by detracting. Material that is to be used in the sculpture is stainless steel wire mesh. The reason behind this material preference is to point out the inverse relation between the functionality of the object and the preferred material. Things that are attempted to be ripped out from a holed ground are sieved. In this context; concepts of excavation, displacement, invasion and construction will act as an invader to our entire habitat on the plane which the excavator tries to construct. -a person or thing that excavates; -a power-driven machine for digging, moving, or transporting loose gravel, sand, or soil; -a sharp, spoon-like instrument used for scraping out diseased tissue, as in dentistry.
8B and 3D (2017) by Sanem TufanElgiz Museum
Lines seek new answers in pursuit of the elusive shadow.
8B and 3D (2017)
While lines between the two defined frames gain volume, the body is in pursuit of integrity. The lines coming out the shape find themselves a place in three dimensions.
These iron wires of different thickness question the concepts such as line, dimension, volume and space, define the area between two frames, and form the image of a pattern drawn in the void.
Kissing is an intervention to the playground and the strict rules of the game. The New Order, put forth by erased lines and blurred borders, turns the act of playing the game into a game itself. The loss of rules and lack of new proposed rules, casts doubt on the playability of the game. The new playground is a stage calling for the act of playing. It seems the player will transform the playground into a new zone of experience through their disbelief in the rules.
Hacivat Karagöz (2017) by Çağdaş ErçelikElgiz Museum
Hacivat Karagöz (2017)
Karagoz and Hacivat are the most famous characters in traditional Turkish comedy. Their dialogs usually progress through conflict.
Karagoz misunderstands Hacivat’s questions and gives ridiculous answers. This contrast outlines the relationship between them.
While designing the sculpture, contrasting relation was utilised to deliver motion in the composition. Exaggerated gestures and mimics are reflecting the personality traits of the characters.
Ikarus (2017) by Arif ÇekeriElgiz Museum
The work was inspired by Leonardo Da Vinci’s flying machine called Ornitopher and Viladimir Tatlin’s work titled Letatlin. Studying examples in nature and combining the knowledge they acquired with artistic crafting methods, these artists aspired to add functional limbs to human body in order to gain the ability of flight. Although humans can travel by aircrafts today, they are still not capable of flying within the limitations of the body or by utilizing limbs that have become part of the body. This longing is visualised through a sculpture that includes motion. The work gets its name from a character of Greek mythology, Icarus, who didn’t give up despite conditions unfavorable for flying, and ended up failing nonetheless.
I'm Bored (2017) by Levent AyataElgiz Museum
I'm Bored (2017)
Justice. Nervousness. Pressure. Obscurity. Emptiness. Deteriorate. Ignorance. Effort. Despair. Rotten. Depression. Drama. Insensitivity. World. Order. Economy. Age. Inequality. Future. Reality. Noise. Trust. Unfair. Battered. Nothingness. Unrest. Insist. Exploitation. Chaos. Darkness. Confusion. Endure. Disappear. Anxiety. Dirty. Fear. Evil. Melancholy. Monotony. Unqualified. Panic.
Money. Impatience. Artificiality. Insincerity. Respect. Process. Witness. Uneasiness. Traffic. Trauma. Exhaustion. Hopelessness. Production. Savagery. Remorselessness. Lie. Loneliness. Attrition. Deprivation. Fatigue. Time. Life. BOREDOM... I AM BORED!
Gate (2017) by Tanzer ArığElgiz Museum
Gate is a symbol representing quest of tinkering with the limits of the senses. Thus, the resulting form can be considered a thin red line drawn between the inside and the outside.
Showing the inside and outside simultaneously pushes the viewer to experience a higher perception. Beyond the structural relations familiar to the eye, pushing the boundaries of perception.