CERAMIC DESIGNER BENGÜ KILIÇBEYLİ GODON APPLIES HER PHOTOGRAPHY, RESTORATION, AND DRAWING EXPERIENCES TO HER CERAMIC DESIGN WORKS.
Bengü Kılıçbeyli Godon, who is a graduate of the University of İstanbul Department of Archeology, is specialized in prehistory. Godon who has been participating archeological works and digs for the last twenty years had received her masters degree from the same department. She continued to work in Southeast mostly at Diyarbakır and Urfa until archeological digs were fobidden due to the terror activities in the area in 1991. Godon, who focuses on the research of the cultural, economic, and technological developments of the hunting and gathering societies from the emergence of humans until the invention of writing, says, “Prehistoric period is really long. There are many areas of specialization in this period. My area researches the first village communities, the period that humans had moved into permanent settlements leaving behind their nomadic lives and domesticating the animals. I am a specialist on ceramics. Three fields, except the archeological expertise, become prominent during the archeological documentation works: Photography, restoration, and drawing. I was the drawer.”
Boutique and customized
Bengü Kılıçbeyli Godon expresses that her pursuit of something different has directed her way to ceramics. Acting out of the instincts and needs to produce 3D objects, Godon had begun her ceramic works as a hobby in 1997. Godon, who had been trained and worked for two years at Prof. Dr. İnsel İnal’s workshop, Faculty Member of the University of Kocaeli Department of Fine Arts, creates her ceramic designs at her workshop named İlona Ceramic in Moda since 2006. We asked her about her style in ceramics and here is her answer: “I create boutique and customized works. I stay away from serial production. Although, my designs seem to be the same, each one of them is unique. I mostly design decorative lighting elements. I also work on bowl, cup, plate, coffee cups, and decorative bowls. I use the transparency of porcelain in my lighting element designs. Therefore, I don’t use colors. I use different clays in my cup, bowl, and plate designs. I try to emphasize the interaction of these clays with ceramic paintings. Everyone is familiar with red clay. The red clay gives different results when interacted with enamel colors. The works made with white clay doesn’t offer any surprises; however, it produces nice effects.”
The art of ceramics requires patience
Bengü Kılıçbeyli Godon, who emphasizes that the clays imported from Europe offer less deformation ratio during the working process, highlights that it would be much healthier to use this type of clay produced with high standards for the production of objects that are going to be used actively such as mugs or plates. Stating that the art of ceramics requires patience, Godon comments, “We cannot see the results at any moment of the process. You produce the work, wait for it to dry and then place it in the oven. The first firing is done at 900 degrees. Later, the product is glazed. It is fired again at 1050-1060 degrees. For porcelain works, the first firing is done at 1040 degrees. The second firing is done at 1250 degrees. We organize workshops for the people who are interested in ceramics. One needs to attend the training courses once a week for six months; so, he or she can say that ‘I know the techniques and I can produce myself.’ The learning process is endless in ceramics; because the correlations and things to be done are endless. I have some students who attend my workshops for four and a half years. The prices of my designs at the workshop range between 20 to 600 TL. I am going to aim for making porcelain dining ware designs next.”