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JANUARY - SEPTEMBER 2021

Yasemin Nur

Yasemin Nur

Born in 1976 in Istanbul, after studying at the Italian high-school, Yasemin Nur completed her undergraduate studies at the Marmara University Fine Arts Faculty Painting Department, ranking first in her class. She then went to Pratt Institute in Brooklyn, New York for her MFA; she received her graduate degree as well as practice-based PhD from the Painting Department in the Mimar Sinan University Social Sciences Institute. Yasemin Nur has worked in the Carpet Atelier in the same institution; she is currently working in the Etching Atelier with Can Aytekin. She was part of the artist group “AtılKunst” in 2006-2013; since 2013, she has been working and imagining with the theater artist Emre Koyuncuoğlu on arrangements on the stage and stage and costume design. She has been training with Emel Nurhan Ogan on the art of Ottoman paper cutting. Her works that are spread across processes beyond temporality are merging with craft.  

WHAT’S DOWN? 

DOWN IT GOES

“ALWAYS” UP


The installation that will constitute a stage at the end of the process once the pieces come together can be viewed. From within this stage, one can connect to my home using a security camera. During the exhibition period, I will be available to view for the audience at specific days and hours through the security camera at home. As an actor on stage, I am also part of the installation. 


If there were a stage, what would be my story? 

A tango between the home and the studio

It takes two to tango[1]- not always


Wherever you derive please, you are free


There is a security camera installed at my desk at home. It records 24 hours a day. Everything is simultaneously on record. I’m at my desk in the evenings. I put something to watch on the computer that I can eavesdrop on. 

While watching Zuhal Topal’s chef table, I make drawings at the desk at home. 

Sometimes the phone rings, sometimes the children come and go. 

Days go by. I turned my desk into a garden to bury my head within. 

I turn the bouquet of peonies in a vase round and round to make drawings. With every passing day, their necks are bent. 


By looking on, our necks are bent, submitting. 


I use readily cut oven paper. I add a new sheet every day and I draw; as Sinan would day, I continue to pursue model. 

The sheets of paper rise up layer by layer. 


I have the same setup in the studio. The same flowers the same sheets of paper. They are traces of each other. 

Like mirroring[2]


With the dry plants[3] pieces of paper objects that are found once at the table, relationships begin to form, sentences of distances between them begin to emerge. 


Why are you charging yourself with objects

Objects discipline us[4]


And later I start looking for pieces of evidence, connections, like a detective[5]. To untangle the story. The story is written through the attempts of untangling. The more is done, the more is written. 


A spoon of paper, waited in the water of the plant that I boiled has dried on the spoon, the piece of paper that has been seeped by the surroundings, has remained on the spoon that I dried upon. 


Ends that I thought would not come together came together unforeseen

Two interests of many years of old cigarette packs and kat’i come together. 

The text Fleur de Bosphore in gilded lettering on the old cigarette paper and the flowers of the Bosphorus as well as the submitting flowers that I bought for the studio at the desk meet each other. 


I look up close, I go inside. I record things that are side by side, the possibilities.

Tables that are under the looking glass, the ground. 

I photograph the drawings I made with 0.7 mm lead and I enlarge them. I look at them even more closely. 


Your insides are very crowded

Life and death are embedded within

Like a war zone[6]


The list of movements-concepts that will form the organization: 


Standing

Leaning

Juicing

Upheaval

Enlargement

Mirroring

Thinning

Rubbing

Erasing

Transfer

Reproduction

Transference

Inside out

Swelling the lines

Cutting swelling the flowers

Tree of life


[1]If two people have encountered a bad situation, they are both responsible for this problem. 

[2]“Mirroring” is imitating someone’s movements without letting them know. This technique immediately heightens the connection. “Mirroring” also means reproducing a form by turning it on an axis in traditional arts. 

[3] It has been 5 years. Since I began to boil plants, flowers. I was curious about their colors. I boiled a leaf I found on the ground in a pot and it gives off its color and scent. When the boiling water cools down, I place it in a plate and I put a piece of white paper in the water and let it sit there until all the water is soaked by the paper. I boil the same plants at home and in the studio. The sheets of paper wait on the plates like leaves. Over the years, I had some color theories. I write down my feelings the time and place of where I picked up the things I boil in a notebook. Both at home and in the studio. When I’m not at home, the sheets of paper record and when I’m not in the studio, the sheets of paper record. There is always a there. And not being not able to be there. 

[4] As mentioned by Sinan in a conversation. 

[5] t.n. In Turkish, detective is hafiye, which refers to a hidden thing, a secret, derived from hafi, meaning concealed, kept. 

[6] What Sinan said about the drawings. 

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