• Güliz Baydemir

    The Painter Searching for the Answers to Inner Dilemmas in Deserted Places: Güliz Baydemir

    Interview: İpek Yeğinsü

    Concepts from the unconscious symbolized by colors, deep dilemmas inherent in the social reality we live in and difficulties originating from our primitive desires lie at the center of Güliz Baydemir’s artistic practice. How about taking a privileged journey into Baydemir’s universe of thoughts, who sees painting as her favorite instrument of expression and whose theoretical background based on her academic identity is deeply felt in her oeuvre?


  • Coskun Sami

    A True Art Enthusiast: Coşkun Sami

    Interview: İpek Yeğinsü

    The new member of the Art50.net family, Coşkun Sami is an artist and intellectual who improved himself in every sense of the word and approaches art history with a genuine passion. We enjoyed diving into an ocean of knowledge with Sami who carries the influence of the years he spent growing up in Bulgaria and who often draws artistic inspiration from the Russian-Soviet history of art and artists.


  • ışıl ulaş

    A Journey into Işıl Ulaş’s Colorful World of Imagination

    Interview: İpek Yeğinsü

    Işıl Ulaş stands out as a young artist with a daring drawing style and an original compositional approach. As one of the newest members of the Art50.net family, we dove with Ulaş into a world of authentic figures and we took a closer look at her sources of inspiration.


  • damla yalçın

    An Authentic Perspective on Women with Damla Yalçın

    Interview: İpek Yeğinsü

    As a new and young member of the Art50.net family, Damla Yalçın questions in her oeuvre the roles assigned to women, where she combines her journey into her own past with images borrowed from society’s memory. We talked to Yalçın about her artistic quest, her subjects of interest and dreams for the future.


  • kerem durukan

    Kerem Durukan’s Colors Full of Life

    Interview: İpek Yeğinsü, Photo: Ezgi Turan

    The first thing that comes to mind about Kerem Durukan is, without doubt, the bold range of colors in his vibrant compositions full of energy. We had a pleasant conversation with Durukan, who received education in several creative fields including painting, graphic design and industrial design, and combined elements from each with the simplicity that he found in primitive art.


  • begum_mutevellioglu

    The Mysterious World of Plants with Begüm Mütevellioğlu

    Interview: İpek Yeğinsü

    Begüm Mütevellioğlu is one of the earliest members of the Art50.net family. While tracing the deepest memories in her peaceful compositions, she tackles subjects like the relationship between the individual and the place as well as the construction of identity through place. In our conversation with her we examined her new series of works about plants, the latter also being one of her personal areas of interest.


  • filizpiyale_art50

    A Painter Looking for Peace in Natural Landscapes: Filiz Piyale

    Interview: İpek Yeğinsü

    Filiz Piyale carries an artistic and academic identity simultaneously, and the intellectual aspect of art is of utmost importance for her. We talked to Piyale, who believes that man can only find peace by confronting his tension with nature, about the origins of her artistic practice and her future projects.


  • Painting and The World of Fairy Tales with Mehmet Çevik

    Interview: İpek Yeğinsü

    Mehmet Çevik’s authentic personality finds its expression in the worlds of his fairy tale-like paintings. We took a colourful journey into Çevik the artist’s story, with his childhood heroes keeping us company.


    How did your first encounter with painting take place? Did you use to paint when you were a child?

    I can say I was first introduced to the ‘act of painting’ with the children’s  show “Sesame Street” on TRT. On the other hand, I learnt about canvas from Bob Ross and his show on TRT 2, “The Joy of Painting”. I used to watch Bob’s brush strokes with my family, with our mouths wide open in amazement. I think the generation born in the 80s in the countryside and raised with the subculture owe a lot to Bob. I did my first oil painting in high school and I intended to paint a snowy landscape just like Bob used to. I didn’t like my first try so I smahed it with my head! Although I thought I wasn’t good enough, my painting teacher at that time realized I was passionate and encouraged me to consider going to a fine arts high school. Thus I started my career by enrolling in the Adana Fine Arts High School.


    In your works, you hide uncanny stories behind a child-like, almost ‘cute’ language. When and how did this style emerge? Where do you draw inspiration from?

    This effect might be due to the fact that I still keep the fantasy world of the Sesame Street and the characters in The Muppet Show very much alive within me. I’m not a Melancholy Activist. There are stories and the paintings do the talking; but their language is a little different. It’s like speaking Pagan. I’m not concerned about understanding and interpreting either; I don’t look for a conclusion or context. The tale continues even if we fall asleep listening to it. Actually, I previously worked as teaching staff at the academy and this style of mine emerged after I left. I think the academic language suffers from fatigue and I find it extremely boring.

    Mehmet Çevik - Bebek Rüyası

    Mehmet Çevik – Bebek Rüyası

    Writers and artists you regularly follow?

    There are no artists, writers, politicians, friends or people I regularly follow. I read whatever I come across; I look at, listen to and live with what or whomever I encounter. I try not to be too selective. There is something to be found in everything! I believe that all kinds of opportunities for inspiration are there as long as one is motivated enough. In short, I’m a flexible person and I love living with coincidences!


    Do you produce illustrations or comics as well? Is it among your plans for the future?

    I tried such things in the past; but didn’t exactly pursue them. I don’t say I would never do them either. In my high school years I drew a lot of comics. I aspired to humor magazines; I used to buy the Pişmiş Kelle magazine on a weekly basis. Then the magazine disappeared from the scene and my interest in the subject faded away. The language of painting has changed and is still changing a lot; so it takes my entire concentration. Thus it’s very difficult for me to dedicate time for illustration.

    Mehmet Çevik - Yatmaz Kalkmaz

    Mehmet Çevik – Yatmaz Kalkmaz

    How did your paths cross with Art50.net? In your opinion, what kind of contributions do online platforms have on young artists’ careers?

    I was introduced to Art50.net via reference. Then I examined the website and liked it a lot. I approach conventional galleries rather cautiously. But online galleries are more flexible and in line with the spirit of our era, so to speak. We are in the digital age, after all. The information flow in the virtual environment is much faster and online platforms are very well adapted to this speed of circulation. Plus, online galleries have the opportunity to work with more artists compared to the conventional galleries; so they are able to offer the young and emerging artists a larger domain of opportunities for visibility.


    Any upcoming projects on the horizon?

    I participate to several national and international exhibitions and art fairs. I also have some alternative and authentic solo and group projects I intend to realize independently.


    Click for the artist’s page.

  • On Umut Yalım’s Extraordinary Adventure In The Arts

    Interview: İpek Yeğinsü

    Umut Yalım is one of the most colorful, authentic and versatile figures of our contemporary art scene. Approaching the notion of art in his writings, drawings and performances from a critical perspective, Yalım talked to us about his journey as an artist, his areas of interest and his upcoming projects.


    When did your fascination with art first begin? And how did Elvis enter your life?

    My “Art” life began with those notebooks that parents hand to their children to keep them busy, with the only difference that I literally spent hours with them. This was around when I was 1-2 years old. I kept drawing non-stop until I was 11-12. Then I started writing. During that time, writing took precedence over drawing. And this was the very moment when Elvis stepped in. During high school I wasn’t someone who listened to a lot of music, unlike my age group in general. There wasn’t a singer I was crazy for either. I began to research the “Rockabilly” personalities once a classmate of mine in the UK told me “there was too much Rock’n’Roll” in my drawings. As soon as I did, I got my first slap in the face from Elvis. Both in his life story and his music, I found we had so much in common. I have been working with that parallelism ever since.

    Umut Yalım - Rockabilly Misfit

    Umut Yalım – Rockabilly Misfit

    Let’s talk a bit about the art education you received in the UK. What was the process like? What kinds of contributions did it have on you?

    The most typical aspect of the Anglo-American education system is its willingness to leave the individual alone, so that he can find his own way, with his own efforts. And unlike the French school system based on ateliers, it has a lot of room for freedom. As long as you are behind what you do and you maintain your position whatever happens, your professors provide you with all kinds of support. For me, the most important contributions of this structure have been self-confidence, resistance against the slavery of the mainstream artistic currents and an integrated approach towards all artistic disciplines. I think this is also the biggest problem for the artists in our country: adapting to the mainstream too quickly and confining yourself to one single path.


    What are the main concepts and themes in your artistic practice? Who is this Rockabilly? And why him?

    Essentially any subject. But I take that any subject and make it my own, and turn it into a symbol. Then I reduce this symbolism to the scale of an object or commodity. For instance, for me, a phone that rings despite being unplugged corresponds to waiting and any other subject matter related to it. And the handle of all these situations and subject matters is the Noncompliant Rockabilly. I can refer to him as my alter-ego. He’s like the summary of my last fifteen years. An Elvis-like personality. His clothes, his figure, his hair, his style, etc… As I identify myself with Elvis, this is how my alter-ego manifests itself in my works.

    Umut Yalım - Rockabilly Misfit

    Umut Yalım – Rockabilly Misfit

    In addition to visual arts, you are deeply interested in literature, and more specifically, poetry. How do these two areas in your practice relate to each other? What are their similarities and differences both in terms of creative experience and subject matter?

    I think poetry is more of a form of plastic art than it is a literary genre. In Edip Cansever’s words, “Poetry is something that you do”. Its writing is essentially a kind of drawing; writing the word “cat” is more beautiful than drawing the cat. We are already accustomed to use the text as such in our traditional art, calligraphy. This is why I think we have an intuition, a perceptual inclination for this unity. And thus, in my works, I also use the text itself as an instrument of plasticity. In my newly emerging series WritingArting I use the text and its narrative style as a drawing instrument. In short, my poems and my plastic artworks develop intrinsically.


    How did your paths cross with Art50.net? Your thoughts on online art platforms?

    I have known Güliz (Özbek) from the art scene for many years. I already knew and followed Art50.net of which she was the founder; but I became a part of it thanks to my friend Haydar Akdağ, the artist. He presented me to Art50.net and this way one more missing piece of mine was complete. For nowadays, the virtual environment is the biggest and fastest meeting point between what we did and will do, and the art enthusiasts. And Art50.net is one of the best representatives of this environment both in the Turkish and the international context. I believe that the world will build an inner-universe where the human being will become some sort of an online life form, and that art will not be immune to this phenomenon and will be produced exclusively within this online environment if we go on like this anyway. In my opinion, online platforms like Art50.net will be the single focus of life and art in the future.

    Umut Yalım - Rockabilly Misfit

    Umut Yalım – Rockabilly Misfit

    Your biggest dream as an individual and an artist? And your upcoming project(s)? 

    One of my biggest dreams is to do a monumental installation at the Serpentine Gallery. Its conceptual and schematic foundations are already complete. I want to make a move for it in the days to come. Regarding my projects, I have always thought that the England part of my artistic journey remained interrupted. I want to do something about it as well. I also intend to switch from the group exhibitions I am often part of to a focus on solo exhibitions. I will have a solo show in November 7-25 at the Artifact Gallery in New York where I will exhibit works from the WritingArting project I mentioned earlier. I hope this will be one more step forward in my rapprochement with the American art scene. I want to develop WritingArting further in the days to come. I intend to carry it to a three-dimensional level. It seems that I will concentrate more heavily on Anti-Art within this context. I already refer to this period I’m going through as my Anti-Artist phase.

    Click for the artist’s page.

  • Ahmet Rüstem Ekici: Art50.net’s New and Multi-talented Member

    Interview: İpek Yeğinsü

    Lately we have been hearing his name quite often. Active in creative fields ranging from art to design, from writing to photography, Ahmet Rüstem Ekici talks to us about his artistic adventure that currently continues at Art50.net.


    How and when did your interest in art emerge? How did you decide to pursue an art direction and set design career in television? What have you learnt throughout this process?

    I became aware of my talent for design and drawing at a very young age and I pursued it through various training courses. My close relations with all disciplines at Bilkent University Faculty of Fine Arts as well as courses in stage and set design for television pushed me into the television industry, alienating me from Interior Architecture, i.e. my original profession. Television studio and set design are intertwined with a wide range of disciplines. Carpentry, metalworking, lighting design and various materials are all involved in the business. As a TV setting is produced for the camera at least as much as for the human eye, the result is an illusion with an appearance for the naked eye and another one for the camera. Thus having photography training is also quite important. Throughout this process, I developed my skills in generating illusion and creating dramatic landscapes through lighting design. My knowledge of materials allows me to pick the right ones for my works, in line with their thematic contents, and these are usually ready-made objects. I also learnt a lot about 3D drawings since I proceed with them through the entire production process.

    Ahmet Rüstem Ekici, US serisi No:3

    Ahmet Rüstem Ekici, Us Series No:3

    How about your main concepts and subjects of interest?

    As an individual living in an urban canter, what I witness on a daily basis offers me plenty of scenes. My identity as an element in these scenes as well as my entire community referred to as the other, constitute the basis of my artistic practice; I am mainly interested in gender, family, relationships, our existential struggle and the city with its speedy transformation. At a park where I take a promenade or in an urban transformation process that I have a chance to observe, I find many clues about the individual’s struggle for survival, his or her privacy and differences, and this allows me to continuously create new works. On the other hand, my architectural education background pushes me to create works that are mostly three-dimensional and spatial; In terms of artistic language, I feel closest to site-specific installations and digital works.


    Artists and designers that inspire you? Your thoughts on the nature of the relationship between art and design?

    Art and design are the two parts of one single entity that shall never be separated. Both serve each other and they take shape together. Their only difference lies in their existential purpose and conceptual vocabulary depending on the specific context. Thanks to the developments in fashion, show business technologies and interfaces in new media artworks, the new century has already shown us that these two instruments move on together. With his stage designs, landscapes and images, Gottfried Helnwein is one of the most inspiring artists for me. Since I am interested in street art, I also enthusiastically follow JR and particularly his large-scale projects. I deeply admire Marcel Wanders and how he relates to the space as a designer. Şahin Kaygun’s Polaroid works are one of my biggest sources of inspiration.

    Ahmet Rüstem Ekici, Us Serisi No:2

    Ahmet Rüstem Ekici, Us Series No:2

    Can you tell us more about the conceptual basis and technical characteristics of your series on Art50.net?

    For Art50.net, I prepared two series titled We and Us respectively. I first built a field with the 3D program interface that I regard as an infinite universe endowed upon me, and I approached this field as a stage. I created the “Us” series completely out of digital drawings, which was structured like a storyboard with three frames narrating the story of a couple wanting to get married and unified. I leave the interpretation of this LGBTI+ themed story and of its narrative structure to the audience. Whereas in “We” series, I first took the photographs of the stage that I produced as a model, and then modified them in digital environment. Like “Us”, this work offers the viewer a series of landscapes that compose a storyline. In my stage designs, I always have to build a setting in line with the existing screenplay; in my artistic productions, on the other hand, my setting and my narrative work together to build a whole and these stories gain authenticity with each viewer’s personal experiences.

    Ahmet Rüstem Ekici, We Serisi No:2

    Ahmet Rüstem Ekici, We Series No:2

    The project/installation you would love to do if you had infinite resources?

    Digital drawing provides me with endless material and spatial resources. I can navigate 360 degrees in my 3D drawing field and this constantly makes me question my touch with reality. Digital drawing also allows me to create any lighting or setting I need without budget restrictions. I wish I could produce all those 3D drawings in real life and scale as site-specific installations instead of sharing on Instagram. I wish I could make people forget reality even a little bit through a large-scale installation that would leave its mark on the city.


    The place in the world you would love to visit the most?

    I am an art traveller with serious potential. I am interested in visiting geographically or architecturally gigantic sites where one can see his presence and his physical body as a minuscule entity. I have been able to visit 12 countries so far but since my childhood, my biggest dream was to visit Capetown; and it has come true. The world is impressive and filled with beautiful things that are able to distract us from our daily problems. I hope I get the chance to experience all of them before they become extinct.


    How did your paths cross with Art50.net? What are your thoughts on online platforms?

    I have been actively writing an art and travel blog in the last 3 years. This writing adventure also extended to several magazines. My purpose in creating a blog was to support art as much as I could. As an online platform that I admired, I also promoted Art50.net’s projects, and wanted to be part of this family as an artist. I find online art platforms necessary since they can reach the buyer more easily. Although most of the art market’s activity takes place in Istanbul, we should keep in mind that contemporary art followers exist in other Turkish cities too.

    Ahmet Rüstem Ekici, Us Serisi No:1

    Ahmet Rüstem Ekici, Us Series No:1

    And how about your upcoming projects?

    I’m preparing for my solo exhibition. I’m preparing this series on women, the body and the relationship between women and architecture. They will be produced with architectural drawing software and based on various buildings and building elements.


    Click for the artist’s page.

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