Sanatsal prati\u011fim, insan\u0131n evrensel ac\u0131s\u0131n\u0131 merkeze al\u0131r. Ancak bu ac\u0131y\u0131 bireysel travmalar, dramatik anlat\u0131lar ya da duygusal te\u015fhir \u00fczerinden de\u011fil; insanl\u0131k tarihine i\u00e7kin, tekrar eden ve ka\u00e7\u0131n\u0131lmaz bir durum olarak ele al\u0131r\u0131m. Din, g\u00fcnah, haz, utan\u00e7 ve erk ili\u015fkileri; bu ac\u0131n\u0131n bedende nas\u0131l kuruldu\u011funu ve nas\u0131l disipline edildi\u011fini anlamaya \u00e7al\u0131\u015ft\u0131\u011f\u0131m temel alanlard\u0131r.<\/p>\n
Benim i\u00e7in kutsal, y\u00fcceltilmi\u015f bir anlat\u0131 de\u011fil; bedende tortu b\u0131rakan bir zorunluluk h\u00e2lidir. Teslimiyet, bekleyi\u015f, a\u00e7l\u0131k, suskunluk ve y\u00fck; i\u015flerimde birer olay olarak de\u011fil, indirgenmi\u015f h\u00e2ller olarak var olur. Anlat\u0131 geri \u00e7ekilir, jest silinir, dramatik nedenler ortadan kalkar. Geriye yaln\u0131zca bedenin kabul etti\u011fi bir durum kal\u0131r: itaat ile direncin ayn\u0131 anda ta\u015f\u0131nmas\u0131.<\/p>\n
Beden, benim i\u015flerimde bir kimlik ya da temsil arac\u0131 de\u011fildir. Beden, ahlaki ve ideolojik sistemlerin en do\u011frudan y\u00fczeyidir. \u0130nan\u00e7, d\u00fczen ve iktidar; bedeni hem kutsar hem s\u0131n\u0131rlar. Haz ile utan\u00e7 aras\u0131ndaki gerilim bu s\u0131n\u0131rlar\u0131n i\u00e7inde \u015fekillenir. Bu nedenle beden ne masumdur ne de erotik; ne \u00f6zg\u00fcrd\u00fcr ne de b\u00fct\u00fcn\u00fcyle bast\u0131r\u0131lm\u0131\u015ft\u0131r. Beden, ta\u015f\u0131d\u0131\u011f\u0131 y\u00fckle vard\u0131r.<\/p>\n
Eserlerimde anlat\u0131y\u0131 bilin\u00e7li olarak geri \u00e7ekerim. \u0130zleyiciyi empatiye \u00e7a\u011f\u0131ran, a\u00e7\u0131klama sunan ya da duygusal bir ba\u011f kurmaya zorlayan bir dil kurmam. Bu i\u015fler bir hik\u00e2ye anlatmaz; bir durumu ask\u0131ya al\u0131r. \u0130zleyici anlamaya de\u011fil, orada durmaya zorlan\u0131r.<\/p>\n
Bu yakla\u015f\u0131m, Orta\u00e7a\u011f ikonografisiyle kurdu\u011fum ili\u015fkiyle do\u011frudan ba\u011flant\u0131l\u0131d\u0131r. Bu ikonlarda ac\u0131 dramatize edilmez; ba\u011f\u0131rmaz, jest yapmaz. Fig\u00fcrler sakin, neredeyse donuktur. Ancak bu dura\u011fanl\u0131k ac\u0131y\u0131 bast\u0131rmaz; onu ka\u00e7\u0131n\u0131lmaz k\u0131lar. Benim i\u015flerimde de ac\u0131 ifade edilmez; ta\u015f\u0131n\u0131r. Sessizlik bu nedenle estetik bir tercih de\u011fil, etik bir pozisyondur.<\/p>\n
Fig\u00fcrlerin sadele\u015ftirilmesi ve geometrik yap\u0131lara indirgenmesi, estetik bir stil aray\u0131\u015f\u0131ndan \u00e7ok bilin\u00e7li bir ar\u0131nd\u0131rma eylemidir. Yirminci y\u00fczy\u0131l\u0131n ba\u015f\u0131nda bi\u00e7imi gereksiz olandan ay\u0131klamay\u0131 hedefleyen d\u00fc\u015f\u00fcnsel iklimle kurdu\u011fum ili\u015fki burada belirleyicidir. Geometri, bedeni idealize etmek i\u00e7in de\u011fil; onu ku\u015fatan d\u00fczeni, bask\u0131y\u0131 ve zorunlulu\u011fu g\u00f6r\u00fcn\u00fcr k\u0131lmak i\u00e7in kullan\u0131l\u0131r. Fazlal\u0131klar at\u0131l\u0131r \u00e7\u00fcnk\u00fc ac\u0131 s\u00fcs istemez. Detay azal\u0131r \u00e7\u00fcnk\u00fc g\u00fcnah, anlat\u0131da de\u011fil formda ta\u015f\u0131n\u0131r.<\/p>\n
\u0130lkel heykel gelene\u011fi, bu indirgeme s\u00fcrecinde \u00f6nemli bir referans olu\u015fturur. Bu fig\u00fcrlerde beden hem soyut hem a\u011f\u0131rd\u0131r; jestten ar\u0131nm\u0131\u015f, y\u00fckle tan\u0131mlanm\u0131\u015ft\u0131r. Benim i\u015flerimde de fig\u00fcr, kutsal\u0131n d\u0131\u015f\u0131nda de\u011fil; tam i\u00e7inde, onun bask\u0131s\u0131 alt\u0131nda \u015fekillenir.<\/p>\n
Sanat\u0131mda temel derdim, insan\u0131n evrensel ac\u0131s\u0131n\u0131 inan\u00e7 ve teslimiyet \u00fczerinden g\u00f6r\u00fcn\u00fcr k\u0131lmakt\u0131r; ancak bunu dramatik ajitasyon ya da estetik haz \u00fczerinden yapmam. \u0130zleyiciyi i\u015fin i\u00e7ine \u00e7ekmek yerine, onu kar\u015f\u0131s\u0131nda durmaya davet ederim. Bu i\u015fler empati talep etmez, rahatlatmaz, \u00e7\u00f6z\u00fcm sunmaz. Sadece bir e\u015fik kurar.<\/p>\n
Bu e\u015fikte duran beden, ba\u015fkas\u0131na ait de\u011fildir.<\/p>\n
Bu e\u015fikte duran ac\u0131, istisna de\u011fildir.<\/p>\n
Bu i\u015fler, insan\u0131n kendi \u00f6z\u00fcyle, inan\u00e7lar\u0131yla ve arzular\u0131yla ya\u015fad\u0131\u011f\u0131 bitmeyen \u00e7at\u0131\u015fman\u0131n sessiz, indirgenmi\u015f ve ka\u00e7\u0131n\u0131lmaz tan\u0131klar\u0131d\u0131r.<\/p>","protected":false},"excerpt":{"rendered":"
My artistic practice is grounded in the notion of universal human suffering. I approach this condition not through personal trauma,<\/p>","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-29148","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/rhysbener.com\/tr\/wp-json\/wp\/v2\/pages\/29148","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/rhysbener.com\/tr\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/rhysbener.com\/tr\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/rhysbener.com\/tr\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/rhysbener.com\/tr\/wp-json\/wp\/v2\/comments?post=29148"}],"version-history":[{"count":6,"href":"https:\/\/rhysbener.com\/tr\/wp-json\/wp\/v2\/pages\/29148\/revisions"}],"predecessor-version":[{"id":29179,"href":"https:\/\/rhysbener.com\/tr\/wp-json\/wp\/v2\/pages\/29148\/revisions\/29179"}],"wp:attachment":[{"href":"https:\/\/rhysbener.com\/tr\/wp-json\/wp\/v2\/media?parent=29148"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}