Recently, an installation of yours named ‘Diffusion’ had been exhibited in New York between the 1st and 5th of March, 2017. What would you say about the audience of the art fair? In this sense, what are the differences between the audiences here in Istanbul and in New York?

We are talking about two different cities, each has it own different geography and history. We know that the differences are many ranging from their economies to social structures. If we compare the differences of artistic environments, in other words the art markets of these two cities, we see that New York has an extremely big and large art market in comparison with İstanbul’s very narrow one. Neither is it meaningful to compare the economies, nor is it pleasant to compare the number and variety of the fairs of these two cities. As it happens in many places in the world, New York also has the main fairs and such fairs that where different perceptions and approaches are exhibited. There is no such diversity in Turkey. The chances of art audience in New York are that they can witness the art of different dispositions and tendencies at many different venues. Art lover has the opportunity see even the most offbeat works. When we look at from the perspective of the art audience, there are certainly cultural differences, however, I don’t suppose there are intellectual differences between us, at least in an important circle. There is also a well educated art audience here that follows the art of the world, travels and, is aware of what is happening in the world. If we think in a way proportional to the size of artistic environment, the number of such people in our country is unfortunately low. As known, New York is a settled city in terms of living and culture, and consequently, the art audience is also as such. You can’t see blankly strolling people but sometimes you can see such an audience in İstanbul. As far as I am concerned, it is normal. Because, ours is a society that is beginning to acquire the habit of exhibition touring. Our people’s and society’s interest in art is not widespread. One of the most important differences between these two cities is that New York is one of the most visited touristic cities of the world. İstanbul is not like that. Fairs and therefore the number of tourists coming to New York is so abounding that cannot be disregarded.

Your installation exhibited in Volta New York touches upon the relationship between art and the studio in which it is produced, and the work consist of many different parts exhibited together. What this part-whole relationship means to you? What was your starting point during production process?

Primarily, this installation of mine is inspired by the space of my studio’s own spontaneity and privacy. My studio is a venue where I create and storage my works. It is full of materials, supplies, pickups and objects. All of them are together and this togetherness makes my world and I am fed by and produce from this world. I believe that studios by their nature collect in themselves both the results and residues of artists’ productions. Ultimately, if we assume that no information and thought is lost, we can believe that all of our ideas, pains, loves, and hopes along with the unknowns are hidden somewhere in what we do. One of my main reasons of making this installation was to show the dialectical relationships among dichotomies, associations, and separations on a concrete platform and, the desire to create a discussion environment within the space of the works’ own environment. There are seemingly unrelated productions of an associated concern proceeding from the pictorial plane to the depth of material in my artistic development. I believe that the elements among them are permeable, fragile and fragmented. I hope that this installation emphasises the semantic differences belonging to the various layers of reality and asks its own question. This installation provides a suitable environment for presenting and discussing the morphological and conceptual relationships among my periodical approaches. Hence, these relationships are occasionally side by side, occasionally successive and involve intense repetitions. On the other hand, I think that this work could be a starting point for creating a new ground in my own development. I have always put human into the centre of my works and intense societal references have been one of my important problematics. I am aware that I have been shaped by the intense and dynamic political structure of the geography I live in. Thereby, the sense of fragmentation reflecting from the work refers to the broken and disrupted mood of my self and the society in which I live in.

With Volta New York, this is the second time that this installation is exhibited at an international art fair abroad. Is there any other project for an exhibition or an art fair on the agenda for the moment?

I exhibited my installation titled “Diffusion” for the first time at the stand of C24 Gallery of last year’s Contemporary İstanbul. Right after that, we sent it to the program of VoltaNY, the Invitational Solo Project Fair.  We got the invitation for exhibition and ultimately I made the installation in a larger space. I can say that the installation in New York was much more effective in terms of its relationship that it constituted with the space. I think I enhanced the fiction of the installation a lot better. The work by its construction has a fiction that allows new components and, it does not loose anything from its general meaning and the concepts that it emphasises when I take a piece out of it. In this sense, it happens to be a work that makes me feel free and by which I could do the exhibition in different ways.

I will have a solo exhibition next month at the Aria Gallery in Florence in May 13, 2017. In this exhibition, I mainly want to show my works that I made of tulle material.