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| Deniz Sagdic, “Untitled”, 2014, Oil on Canvas, 80 x 120 cm., (© Deniz Sagdic). |
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| Deniz Sagdıc. |
We spoke with Artist Deniz Sagdic's
personal exhibition, that will be open between the 11th November and 20th December
2014, together with her husband, art critic Dolunay May. Our conversation
focused not only on artistic creation, but also on the philosophy behind the
creative process and the sociological and psychological training of the artist.
By Ummuhan Kazanc
Dear Deniz, your exhibition entitled
"Spirit" will be at the Gunes Sigorta Art Gallery between the 11th
November and 20th December 2014. In your fifth personal exhibition, how do you
handle the concept of the spirit, which has been the subject of investigation
and creativitiy for a number of artists and thinkers, within the framework of
painting?
Deniz:The spirit is a concept that has been invoked in the world
of philosophy, by artists who cannot be considered apart from this world. It is
a concept that has been thought about and examined a lot and for this reason,
it is a risky and ambitious title. However, I think that the very meaning of
art is to touch upon such debates, risks and ambitions, to attempt to loosen
the knots represented by the imaginary world and provide solutions as one can.
Isn't the world of concepts the only area that philosophers and artists can
occupy? As you know, the translation of this concept, born in the West, in our
language is a matter of debate. However, apart from the claims of the parties
to the debate, the meaning of the spirit in my imaginarium is the artworks in
my exhibition. The spirit, for me, is exactly the process in which my works are
created, meaning the dynamic of reflection of an image, an object or even a
mood that influences me, even before the brush first touches the canvas.
..jpg) |
| Deniz Sagdic, “Untitled”, 2014, Oil on Canvas, 120 x 160 cm, (© Deniz Sagdic). |
Dolunay: When with Deniz, you have to get used to this situation. For
example, when we are walking down the street, he can spend minutes examining
anything that is interesting to him; a tree, an object that might be ordinary for
us and in that moment he is not with you. You can see that he is going
somewhere else and this could cause you to worry if you are not used to it. If
the object is something that he can pick up he will, if not he will start to
sketch in his book, which goes with him everywhere. Many times, for the
observer, the object he is looking at and the sketches are completely
different.
Deniz: This is a moment of realisation. Even though there are
differences in the practical reflections, I believe that the creative mood
works the same way for all artists. Even our early ancestors that made
handprints in pigments they threw on cave walls had that same moment of
realisation, reflecting a mood, an experience of their own existence. When
somebody sees my paintings I would like the person to depart on a spiritual
journey to his or her own inner world rather than the process I mentioned, to
experience an essence that the person maybe has forgotten among the sediments
of memory or maybe has not noticed before.
It seems that love has a separate
place in this exhibition. What can you say about this?
Deniz:The concept of spirit is related to love for me. This is a
meaning beyond that expressed by culture today. I consider a love felt by a
thinking mind, an essence that is definitely separated from the animalistic,
beginning to percieve and ascribe meaning, accepting that meaning and deciding
to have the experience. I think that art has developed as a vehicle for this
love. At the same time, love is an intersection for philosopher and artists as
they both are afflicated by the love of learning, questioning and examining.
You generally use the image of a
woman in your work I think this exhibition is no exception. Which concepts or
viewpoints are you trying to emphasise with the image of a woman? Your husband,
the art critic Dolunay May had the following to say regarding the this aspect
of your work: "A woman is always at the centre of the work of Deniz Sagdic.
These women are usually an unexpected expression of Sagdic's subconscious
rather than a choice. The images of these women are expressions of drives in
the artistic space rather than a planned critique, illustrating the amorphous
relationship between forms and their surroundings. The source of this
expression is not an organic relation between Deniz Sağdıç and those who share
the same gender. In the general sense, it is the encouraged reflection of the
human condition". What would you like to add to this?
Deniz: Dolunay has summarised it well (laughing). Jokes aside, I
think that women have been indicative of the sociological, cultural and
political situation of humanity throughout history, including today. As you
have brought it up, my graduate dissertation was built on the basis of women.
To understand the psychological condition of society, it is enough to look at
women. You do not even have to delve too deep, looking at any photograph of a
women from that society is sufficient. Believe me when I say that this will
give you as much data as the most detailed research. Apart from these insights,
the only thought that I subscrive to is that I don't believe that art has its
own ideology. I am sceptic about separative systematic philosophies such as
feminism or other based on other prescriptions.
In many cases I try to depict women, at least in imagery that does not
intersect with this kind of misleading prescriptions, however it is difficult
to stay away from the spiritual whisperings.
You have a technique that allows
your paintings to scream "work of Deniz Sagdic". Can you tell our
readers about your technique and in which artistic movement it should be
examined?
Deniz: Yes, my paintings have distinguishing features as you say.
Indeed, the first statement made by dear Yahşi Baraz, during the early years of
my art career was; "I have seen thousands of works by artists all over the
world but I have never come across a style like yours". At the time, I
considered this a statement to have been made out of kindness, after which I
found out that Yahsi Baraz was a devotee of art worldwide, backing up his
statement with decades of experience. At that time, forget about world art, I
was not aware of the works of the Turkish art scene while today, with the
facilities provided by the internet, it is almost impossible to remain ignorant
about the art products in the world. I have still not had anyone say "your
paintings look like those of another artist". I think that originality is
something like this. However, originality is a knife edge, as art lovers or
professionals in the art world other than artists may be proponents of a
specific movement, even if the artist is not. But my paintings are significant
to me in terms of meaning rather than technique. The structure that is
percieved as form by the viewer is the reflection of expression in practice for
me. Therefore, a preexisting plan that we can terminologically classify as
technique is not a concern for me. My form of expression is like handwriting;
even when sketching the images flow in certain way outside of my control. I
think that this fact is why I love oil painting. Many times my brush, supported
by the chemical qualities of oil paint just flows uncontrollable, not stopping
to rest with any movement.
Apart from being a successful artist
you are also a successful academic. You graduated from the Department of
Painting at the Faculty of Fine Arts of Mersin University, as valedictorian.
You started your graduate studies at the Plastic Arts Department of Doğuş
University with a merit scholarship. How do you see this string of successes
continuing in the future? What is there in the big picture you drew for
yourself?
Deniz: As I said before, artists also experience the hunger for
researchi science, learning and questioning. In this case, in school you
fulfill expectations of you completing the learning process. Unless there are
any unexpected surprises, it seems that I will graduate from my masters programme
top of the class. I must say that I find universities very beneficial. What can
be more exiting than coming face to face with many great scholars who you read
about, examine their works and attend their seminars. I do have a measured
approach to academic life as do many artists in varying degrees. I would like
to thank the academic circles who encouraged me to further my studies and
combined with a merit scholarship, I just couldn't say no. For this reason, I
think I will continue with my education but my career is focused on the
production of art works rather than taking on the mantle of an educator, at
least for the foreseable future.
DENIZ SAGDIC’S “SOUL” EXHIBITION
IS AT GUNES SIGORTA ART GALLERY by
November 11th
Deniz
Sagdic, born in 1982, will meet the audience by November 11th, 2004 with her
works of art collected under the name “SOUL” for her fifth personal exhibition 2014 at Gunes
Sigorta Art Gallery. Sagdic presents her perspective for the concept of “Soul”
at his exhibition that has been the subject of world of though since ancient
times and become the main source of inspiration for the modern artists.
While
the artist re-construes ordinary expressions of the concrete images perceived
by the senses with her unique technique of painting, she promises the audience
a spiritual journey towards the transcendental word with her works in which she
has tried to find the core of the concepts she generated.
The
personal exhibition of Deniz Sagdic which is to be opened on November 11th,
2014 under the name “Soul” can be visited until December 20th between
10:00-18:00 except for Sundays at Gunes Sigorta Art Gallery.
Gunes Sigorta Art Gallery
Gunes
Plaza Büyükdere Cad. No: 110 Esentepe-Sisli-İstanbul-Turkey
Tel:
0090 444 19 57
www.gunessigorta.com.tr
http://www.denizsagdic.com/
..jpg) |
| Deniz Sagdic, “Untitled”, 2014, Oil on Canvas, 80 x 160 cm., (© Deniz Sagdic). |
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