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Contemporary artist Dilek Yalchin invites viewers on an unusual journey through time with her new exhibition on the relationship between objects and time.
“Time Travel” takes an interesting look at the concept of time, including 49 works, paintings and sculptures. The exhibition is the artist’s solo work following the “Innocence of Things” held last year at Tofane-i Amir in Istanbul, which attracted the attention of many art-goers. This focus has kept Yalcin motivated and inspired even after being praised by all the audience comments and appreciation. “It’s all my artistic roots that keep me fresh during my rehearsals and performances,” she said.
For this she continued to create pieces after her first solo exhibition. Create an automated collection for viewing and connecting with your audience.
When describing her creative process for “Time Travel,” Dilek highlighted two concepts in particular: Covid-19 and the perception of time. “Last year I had my first solo exhibition, ‘The Cleanness of Things’, which I started creating during the lockdown. That period changed my perception and understanding of time and material. At first I was making pictures of objects, and I realized that objects really give us a sense of time,” she says.
“Therefore, I decided to create my current exhibition based on the objects and their relationship with time. Old and nostalgic objects are my focal points. My images are as if we are in a time travel machine, you are stuck on an object, and you have special and unique memories. I let our childhood or youth take us back.
As the exhibition leaves visitors nostalgic, Yalchin explains how she achieved this through the magical magic of materials.
“After I decide on my theme and before I begin, I try to read and learn what others—philosophers, linguists, writers, and artists—have said or created about my theme. And ‘time’ is a general concept to ponder. However, in my brief research, ‘time It is revealed through objects’, I concluded. Einstein’s theory of relativity also supports the idea that objects are evidence of time. As witnesses of the past, we learn from ancient archeological objects. Therefore, I also strive to create an archive for future generations through my art. Most of the objects in ‘Time Travel’ are out of use. They don’t exist because they are old or beaten by the new version of technology. But, I paint them on my canvas and bring them to the page of history and say immortality with art. That’s the wonderful side of it. Even simple things can become immortal in the hands of an artist, and thanks to the art viewers who appreciate it. ” she says.
“Another aspect of the exhibition is getting enthusiastic feedback from my audience. They say they face their past through my images, which is like therapy. Although I had no such intention, I was happy to hear that my art, not just the material, but the bright colors, style, and linen were an improvement.
She constantly continues to expand her knowledge in art, striving to produce Yalchi every day with great inspiration. For her, creating art is a “non-stop, fun, interactive life journey.”
“As Confucius said, ‘Choose a job you love and you’ll never have to work a day in your life,’ and I feel like I’m one of those lucky ones. One of the reasons I’m constantly echoing with gratitude is my art,” she explained.
As the objects take center stage in the framework of the exhibition, she explains the selection process: “Sometimes an object inspires the theme, or sometimes my mind gets a certain theme and I start choosing my subject. The creative process is a true journey for the artist. They will grow and improve along with your artwork. Also, during creation, I was also inspired by my companions. They share their thoughts, and I take notes. It provides interesting brainstorming. For example, the idea for the blue picnic cylinder came from a friend. He thought he was joking, but I didn’t take it lightly and painted him. The blue picnic cylinder is like our collective national consciousness. How can I ignore it… In short, my choice of things is random or conscious. The main thing is not to leave my theme frame.
She generally employs Yalchine in her linen work. The history of linen is of great importance to her because it is as ancient as mankind: it was used to cover corpses to make mummies, and later became an everyday garment in Egypt in 5 AD.
“Since then, raw linen has been used because it’s so healthy, organic, recyclable and beautiful. As for my preference for linen art forms, that ancient and wise material acts as a balancing element or counterpoint to my modern style. It bridges the past and the present. Its ancient meanings make me and art viewers feel warm and comfortable, like home,” she explains.
Of course, finding the material that she spoke to was a laborious process.
“For an artist, I can say that finding the right material is like finding your soulmate. You search, you try and you try, and sometimes you get frustrated or hurt, but eventually, an ‘aha’ moment comes, and bingo, you match. The basic material of my canvases is linen. So, I had those eureka moments with linen when I was doing my masters in painting in London and I never gave up,” she said.
“With cloth, I use gouache for the current color application. In London I used paints and oil paints; However, gouache and acrylic are more practical and allow me to create more, which I prefer,” she added.
“In terms of my paintings, I am considered a conceptual artist who works on developing ideas for art installations. Installations allow me to create in a much freer field compared to canvas painting. There are more material options – anything can be your material – and so is theme.”
Aspiring to practice art after a series of different jobs, Yalcin decided to study painting in London. After applying to three prestigious institutions, she began her studies at the University of the Arts in London. “I quit my job in Istanbul, and one morning I opened my eyes in London. Studying art was a wonderful experience for me and my artwork. I stayed in London for a year at a regular secondary school and then returned to my country. It was before covid-19. After that I opened my studio in Ankara. And for three years I have been making artworks and joining national and international group shows with solo exhibitions,” she says.
Her solo exhibition “Innocence of Things” includes 200 paintings and three installations on the world’s major problems: migration, women’s rights and COVID-19.
“I see myself as an artist and a communicator through art. As an artist I want to comment, but not politically or ideologically. Just for a better world, like many artists and novelists. In Thomas More’s ‘Utopia’ where people can freely make art, speak and live. “I was very inspired by painting the ‘world’. So that they become more peaceful, more intelligent and wise. I believe in art,” she said.
The exhibition can be visited at the Ziraat Bank Kuğulu Art Gallery in Ankara until February 2.
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