M. SELIN EREN
GRADUATE // CERAMIC & GLASS
Artist's Statement :
Soil is the most beautiful part of nature and humans, even the balance of the world. One of the most important elements in ceramic art is "clay".
It is possible to see that the clay, which is alive by nature, has a say in the shaping process. Ceramic, which does not like haste and requires mutual communication, gives us a life lesson with its patient and controlled working discipline. It is possible to create successful works of art with the plastic values it provides, if the language of communication compatible with this material, which has limits and duration, is caught.
I was born in Çanakkale, the crossroads of the East and the West. My hometown Çanakkale that is situated on the coasts of Dardanelles Strait, is ﬁlled with the traces of history: the remains from the city of Troia, Alexandre Troas, Neandria, Apollon Smitheon are some of the many excavation sites where history is reappearing on the face of the earth.
After I started my master's degree in Visva Bharati University, Kala Bhavana, I became acquainted with the historical riches of India, especially the West Bengal region, and started to transfer cultures through ceramic toy figures of the past and present, which, although in different geographies, are not very different from each other.
I prepared the characters with a different form from their original state, with a fairy-tale and childlike style, as if they were immersed in a very deep conversation among themselves, and with a scenario as if inviting the viewer among themselves.
When I observe nature, all living things are fighting for their survival in their own lives and at the same time continue their daily routines in the order they have established. When I get a little closer to them, I don't find them much different from myself. We all have a purpose we pursue and we shape our lives with these goals.
This observation led me to follow the nature inside me.
In the toy characters I make, it is very important for me to call the audience to the game or to establish a dialogue with the audience and find a piece of himself. Based on this thought, I started to use a simplified expression in the figures. So I could connect more easily with anyone of all ages.
Mesopotamia,( Anatolia and India) which has an ancient and deep-rooted past, is a bridge. In that respect, there is already a starting point. Inspired by idols, myths and symbols, it has been brought up to date. I used it as a figure and symbol, not as an imitation.
It is the reflection of a whole life, habits, reflexes, plans or coincidences, successes, boredom and disappointments of that art life.
Being constantly embarking on adventures is an image of my acting side, although I intend to face surprising results in the works.
When the experiments with the material possibilities in ceramics are continued and colour studies are added to this, the ceramic game begins.
The so-called "game" is never outside of life. Nor is it what spoils the seriousness of life. Play is at least as serious as life, but if it differs from reality on the street, it is that it contains infinite freedom and an enjoyable side.