The Part of A Neverending Cycle

The Part of A Neverending Cycle

Sculptor Bilal Hakan Karakaya, who created original, thought-provoking, and questioning works, prefers to give different messages to his target audience rather than progressing theme-oriented in the design process.

Karakaya, who works with different formations from aluminum to bronze and stone to wood and does not finish the design process until he reaches 100 percent of the three-dimensional work he designed in his mind, creates works, where emotions come to the forefront, and stays away from mass production.

He works with different material groups

Bilal Hakan Karakaya was graduated from Gazi University, Department of Painting and Sculpture in 2004. He came to İstanbul in 2005 and worked as an assistant to painter Hanefi Yeter for seven years. Saying that his brother Kazım Karakaya was also a sculptor and that he had a special interest in subjects requiring manual dexterity since his childhood, Karakaya said, “My reason for specialization in sculpture is that I feel much closer to this branch of arts. I have always preferred to be in the sculpture studio at the university. After my first contact with clay, I felt I had to move forward in this area. I enjoy working with different materials, especially with metal or wood oriented materials. I have clearly observed that the form event is more essential and that creating three-dimensional forms affects me much more. The painting is much harder for me. It seems quite difficult to form that depth, that image in two dimensions. The painting has a very different structure. I mostly work with three-dimensional forms.” Karakaya, who works with casting techniques in his atelier in Kadıköy, İstanbul, works with especially aluminum and bronze, stone, wood statues, styrofoam, sand and with various tools. The material groups are determined according to the project. They are obtained from different foundries and metalsmiths.

He addresses to urbanization element

Bilal Hakan Karakaya, who has been working with the Anna Laudel Gallery for a long time, states that he is more reached by the people who closely follow his work. Expressing that he does not produce with the concern of making sales, Karakaya said, “I am more than happy to progress with my own designs and create an income model with this philosophy. I have a portfolio within Anna Laudel. In this context, I occasionally participate in fairs and occasionally in mixed events. I will have a solo exhibition in January 2020. My theme is not clear yet. I do not work by getting possessed with a theme. I work in more emotional modes. I ignore the things that will be design objects. I want to advance by focusing on the urbanization element and the harmony of human with nature and the environment. Individuals have housing and property problems. There is unconscious mobility caused by these problems in societies and there is a concern to dominate life. My subjects are a little more ideational, a little more pessimistic. I’m working on the hardest lines possible. I am also very happy to be able to do what I think. I have a number of wishes such as working in a slightly larger workshop and being able to object to the designs I have in mind. I work 7 days a week because the production of the work always continues.”

He owes his inspiration to his power of observation

Looking for an alternative material to fiber optic cable, Karakaya says that he is working with fishing lines to realize the object in his mind and he is excited to be able to benefit from endless material knowledge. Inspired by rock tombs, especially with the inspiration from Palmyra tower tombs, Karakaya turns to different works and captures an extraordinary style. Karakaya said that sometimes a work that he started was not 100 percent complete and he could work on the same work again after 5-6 years, emphasizing that the design process is an endless cycle. We asked Karakaya how was the evolution of perspectives on art in Turkey and we have received the following response: “The art market in Turkey has changed its vision. 8-10 years ago, there were different masters and great artists. Now the young artists are at the forefront. Important artists should receive the respect they deserve. There must be an exchange of information. There must be a different art culture. Qualified institutionalization is essential in this regard. After all, art is indeed a social act. Everyone should be able to grab the bull by the horns. Especially young generation artists flare up and then suddenly disappear. Everything is consumed very quickly. There are too many imitations in the art community. At this point, I think it is very important to achieve originality.”