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 Deniz Sagdic
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.
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.
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.
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.
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.
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, 2014 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
