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“Vanitas” Vase I is created by employing a multi-step process called slip casting. The dry mold is filled with slip allowing it to solidify and form a layer, called the cast. The cast is covered with engobes and fired in an electric kiln. Afterwards, the object is glazed and fired again. The interior surface is finished in a glossy white glaze.
Traditional techniques and a contemporary approach are combined with a post-internet aesthetic that has an organic feel. The colour palette is influenced by digitally rendered images and computer visualisations. The object explores the impermanence of nature in the traditional still life genre. It takes references from natural habitats to create unique, yet recognisable poetics.
Black and Grey, Grey Pink
My work explores the impermanence of nature in the traditional still life genre. It\'s taking references from natural world to create unique recognisable poetics. Nature Morte literally dead nature is a silent moment of transition. In a sense it seems like a warning that the natural habitat is not a given fact and that our environment is a fragile organism. Through a search for perfect forms I am addressing themes such as disintegration, failure, destruction and... rebirth. All as a reminder of human\'s irrational relation to the environment and a call for a more holistic coexistence with nature and other beings.
Currently there exists a group of designers who have reintroduced the vitality of craft into Turkish design. Their work is a continuation of the craft techniques adapted to contemporary fabrication. Importantly, they have also reorganized the symbolic potential of local Turkish craft, working directly with craftspeople who are more centrally involved in the creation of these designs. Designers working as collaborators with these craftspeople invigorate design and, at the same, using the means of handcraft, rejuvenate the symbolic import of design through a focus on gesture, form, and technique revealing a latent symbolism organically driven through process.
This focus on touch leads to another feature of Turkish design: the imperfect gesture. Gestures ranging from the perfect to the imperfect are an important factor in the final form of an object. They determine the shape and contours of objects in their realization, and have an underlying iconic potency.
For thousands of years, the performance of the hand in cutting, shaping, molding, and chiseling materials was the key factor in the final form of many objects. The hand’s capabilities and limitations guided the process in which function was realized, and also resulted in the aesthetics and stylization of the object, generating what can be described as “latent symbolic force”. The aesthetic and stylistic symbolism connects the object to its maker and designers giving a sense of authorial identity and originality to each work. The designer and craftsperson collaboratively and cooperatively realize this design, thus connecting to the symbolic potential of craft and objects. With geometry and pattern as a basis, form is realized within the material production of design, its techniques, and material constraints, resulting in what we can loosely term as the idiom of Turkish design in this synthesis of symbol and craft.
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