Contemporary art is, to me, the question of consecrating anything to do with art and art per se, which is not complete without the viewer and its narration. Very personal response to the concerns of the present social, political world from the necessity of expressing oneself is the ultimate personal approach to my works. I am exploring different tools to translate that need for production into a form. Storytelling is my predominant conceptual reference origin to represent what I am living through. Personal founds and memories as art materials and my process transmit a sense of reality that manifests itself. My long architectural education permitted me to be experimental with the structural tools and always thinking in the context of space and culture. My thesis subject especially helped me establish a comparative understanding of how epistemological differences of time and context are actually important to shaping cultures.
reality and text
My works focus on the notion of language, text materials, alphabets, syntax, semantic frames, fragmentation, reality and borders through the lens of researching, digital painting, and mixed media techniques. I like to mesh up my determined understanding of reality by use of very personal stories, referring to neo-Dadaism and even sometimes pointillism and Islamic art along with customs of my homeland (so called Anatolia, somewhere in the middle east). Thanks to my upbringing even more my religious grandma, the abstractness of Islamic and also anatolian art tradition, which is far beyond decorative craftsmanship, has an impact on my aesthetic sense. Especially rug weaving and the use of colors have certain contemporariness with its purity.
Critical Dadaism is about the possibility of finding the meaning behind the absurdity. The transmission between meaning and nonsense creates dynamism, and adding the time element into my art. I like to surprise the viewer; however, it depends on their curiosity. My relationship with my art practice becomes more playful and dynamic, with multiple transitions of meanings and absurdity, as well. I can release my insecurities while feeding my pseudo-intellectualism -bringing important topics into the discourse such as identity, woman, time, culture, and ‘others’ – by means of patching mostly nonsense papers, texts and alphabets.
Whom I like: Irma Blank, Maria Lai, George Maciunas, Erol Akyavaş, Jacques Village, Luis Barragan, Squeak Carnwath, Yasmine Nasser Diaz, Lara Assouad, and many other contemporary artists who embrace a critical approach duly creating a new aesthetic.
© All images on this site and their copyrights owned by ESRA NESIPOGULLARI unless otherwise stated
Latest Articles / Statements
Critical remarks on Museuminsel and problems of nationalism
Prussian Art Politics had a lot to do with shaping museum power in Germany. The 19th-century museum boom reflects upon the museum architecture by reviving the classical temple architecture elements in the museum exterior. The classical style of architecture represented the noble aspects of civilizations; hence it becomes the vocabulary of museum architecture within the ideological frame. >> read more
Post Apartheid Museology And Museum Definition
Cape Town Six District: Deconstruction of an apartheid suburban area to the memorial cultural district.District Six has become an iconic landmark in Cape Town and a reminder of the dispossession and injustice committed to its residents as a result of the Group Areas Act implemented during the apartheid era.
>> read more
Louvre Abu Dhabi, New Museum Definition and Branding
The museum agreement with Abu Dhabi was praised by French President Jacques Chirac, who said it represents a particular vision of the future in which each party to the agreement is proud of its heritage and identity but still acknowledging the fair equality of all cultures. >> read more