LIVES THAT ARE HIDDEN ON SANDY CANVASES…

LIVES THAT ARE HIDDEN ON SANDY CANVASES…

ZEYNEP ERDİNÇ WHO USES SAND AT HER PAINTING IS NURTURED BY LIFE EXPERIENCES AND ONE’S STRUGGLE TO QUESTION ONESELF.

Zeynep Erdinç who had her degree from Marmara University Fine Arts Faculty Ceramics Department states that she had worked with ceramics for long years by means of the ceramic workshop that she had opened when she was still studying. Erdinç who had focused on ceramics between 1982 and 1991 had come to a different turning point in her career. Erdinç whom we visited at her workshop located in Kadıköy, Yeldeğirmeni told us her story about how she changed her direction from ceramics to painting, “I’ve focused on painting since 1991. I’ve also taken painting lessons. In time, my paintings began to resemble my ceramic works. I have realized that the ceramic artist within me began to show herself. I began to work with sand on my paintings in order to add deepness through layers. I am familiar working with sand because of my history with ceramics. I actually use sand as a thin coating. My original idea was the walls on canvas. I have great interest in prehistory. My special interest is rock and cave paintings. I began to question the personal burden of living in this century while I was paying my attention to the creativity of humans. So, I wanted to go back and look at that creativity and cultural life with today’s perception. When I was analyzing how to create a textured material, I decided to work with sand.”

She is nurtured by plainness and nature
Zeynep Erdinç who had an exhibition called Under/Surface between December, 20 and January 11, 2014 at the Gallery Ark says, “I had joined the exhibition with about 20 works. I had focused on different types of surface works for the each work. As a result of working both on and under the surface, I was able to create works that emphasize time and point present at the same time. What I actually wanted to achieve was to create a hesitant environment. I desired to open an alternate door that can be created by the observer’s own view, imagination, and experiences. My works have a layered structure. They have a bottom surface, and the perception of on and under the surface. They all reflect the setup that I had created in my mind stylistically and substantially with success. I focus on the process, not on the result. My action had me aim for the plainness while allowing me to avoid categorization that I dislike.”

She observed the rocks and caves
Erdinç who mentions that she is going to use less sand on layers at her following works and make the background more visible tells about her source of inspiration, “When I was observing the rock and cave paintings, I felt the excitement caused by the effects of the wind, sand, and time on humans and their traces. A movement that is in harmony with nature draws attention here. Some lines are deep and some are not, so we understand from that a certain time has passed. In a controlled manner, I try to make people feel that my work is a surface or a trace that is an uncontrolled work of both human and nature.”

She doesn’t pour sand just randomly
Working with sand for the last three years, Zeynep Erdinç summarizes her technique: “Each work that I have made until today has a textured structure since each was connected with ceramics. I have made collage works on canvas. The course that began to question destructiveness, abrasiveness, and being human directed me working with sand. I work on the background first. My paintings are usually monochrome. After completing the background work, I apply the binding agent and then I pour the sand using my hands. I use tools such as trowel or hacksaw to shape the texture. This procedure is the most significant part of my work. What is important here is not to pour the sand just randomly, but how you direct the procedure, your attitude, and your experiences are. I create the outline, harmony, stylistic mechanism of the work before I begin to paint the background. Later, I wait for it to dry. I act spontaneously when I paint. Then, I check the work for smears or unclear images that might occur following this type of processes. I don’t even remember how many layers my works have. It is not easy to paint the works with multiple layers. If I am able to catch the stylistic balance on the background after pouring the sand, painting it becomes easier. This type of work is completed at least in one month.”