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  • On Paper, Drawing and Storytelling with Melike Kılıç

    On Paper, Drawing and Storytelling with Melike Kılıç
    Interview: İpek Yeğinsü

    Melike Kılıç is a true storyteller. Using the tree and the forest, the two unforgetable elements of our childhood imagery, she builds new stories. Taking a promenade in the magical worlds of her drawn and paper-cut characters is like walking around in a 3D book. We took a colorful journey with Melike Kılıç into her rich world of imagitation.
    IY: How did your artistic adventure begin? Did you use to create art when you were a child?
    MK: When I was a child I was a great daydreamer. I used to build walls, plates, many things with clay. My talent for drawing was discovered very early on. I was constantly told to never stop painting.


    Melike Kılıç, Neverland

    IY: You received part of your artistic education in Vienna. How did this experience affect your art? How did it guide you?
    MK: I have always loved departures. I went to Vienna just out of the curiosity for this experience as a journey. And both the city itself and my school took me to another level. I began to srite short stories in its trains. In a country whose language I did not speak, there was only me and my inner voice. So many stories and tales were pouring out of me that for a long time I stopped painting and kept writing. From this perspective Vienna was great for me and it also made me a bit more peaceful.
    IY: In your works you tend to tell stories. What sources do you draw your inspiration from?
    MK: Every medium that contains language is actually about storytelling. My definition of me, on the other hand, is about me being a shaman, a healer, a taleteller and a dreamwalker. Poetry, literature, fairy tales, cinema and all the beauties in the world inspire me.


    Melike Kılıç, No Country

    IY: It is often told that children’s tales actually do not target children, and their original versions are filled with metaphores that are much more violent. What would you say about this? What kind of traces can we find in your stories?
    MK: My mother’s tales were never intended for children. If my drawing has a dark side to it, I have always thought this was due to my mother’s tales. She taught me at an early age that the world was turned into a dark place by humans. There is a hopeful waiting in my works, yes, but a darkness trying to devour this hope is dominant.
    IY: Why do you use the tree and the forest so often? What does it mean to you?
    MK: Trees are like the most vital word in a story to me. I build a story out of all the trees. A big forest, a big world. I’m extremely fond of nature; the human being belongs to nature. Urbanization and concrete invasion are not things that I like and I use the tree and forest themes as a rebellion. And all the rebels, all the ones opposing the existing system go back to the forest. A state of poetic narrative and epic transformation. I express the feeling of wondrousness most naturally and lyrically with a forest. Actually what I do is rather building narratives, promising people new places and new dream forests where they would love to be. Each tree I cut out from paper and give shape to, is to make you dream with your eyes open and to turn you into a dreamwalker.
    IY: Let us also briefly talk about your drawings. What do you use as materials? Do you particularly prefer any brands or products?
    MK: I enjoy using many of Faber-Castell’s products. In terms of drawing, the precision and fluidity of the green series in addition to the trouble-free nature of the technical drawing pens make me very happy. I also enjoy using the various products in the Pitt series. I particularly like the fact that they allow for a more precise and multilayered painting with watercolor brush tips. I have been recently experiencing them.


    Melike Kılıç, Laundry City

    IY: Do you write stories or poems? Do you ever depart from texts when building the stories in your works?
    MK: Stories always kept flowing. Then I began to write poems, being poetic is something I really care about. The humanity losing its poetry is like the loss of speech. That place I create is a big fairy tale, a story and the poetry itself, in all its entirety.
    IY: Any artists you like and follow, in Turkey or abroad?
    MK: There are many but in the recent months the artists that impressed me the most has been Adrian Villar Rojas with his “The Most Beautiful of All Mothers” installation in Prince’s Islands.
    IY: When did you start working with Art50? How did it affect your career?
    MK: A year ago, with Marcus Graf’s recommendation. I believe it creates long term visibility.
    IY: Which exhibitions did you take part of with Art50?
    MK: “Up in the Air” and “Stories Untold”.
    IY: What are your biggest dreams about yourself, your profession and your life?
    MK: Presenting my multidisciplinary narratives and atmospheres to many people’s perception, as a whole. Works that appeal to all senses, that combine my poems and my fairy tales. Doing big installations, huge, threedimensional, in which people can walk. My biggest dream is cinema, making short films, and of course travelling the world for inspiration and experience.

    Click to see Melike Kılıç’s artist page on Art50.net.