Deniz Sagdic is going to exhibit her paintings
collected under the title of “Tin”, between 29 June-13 July 2015 at Mine Art,
Bodrum Yalikavak Palmarina Gallery.
INTERVIEW:
Hande Özdilim Yildirim
 |
| Deniz Sagdic, “Ultramarine”, 2015, oil on canvas,
120x80 cm. |
H.Ö.- Why does an artist produce? For
example, if we think of the insticts dispatching a painter to portray some
things within the example of “you”, what do you think about the period carrying
you to produce?
D.S.-
As humanbeings, we have been accustommed to interpretation systematic by
conceptualizing things via our wisdom through thousands of years, at least with
Nietzche’s discourse, since Sokrates until now. These things are all along in
nature or our, in other words humanity-created objects and again a frame
including all the phenomenons created by humanbeing. The fundamental instinct
to portray some things originates from this idea. Yes, this is a tree. What is
a tree? Why do we call this thing a tree? What is the tree image in my mind?
What is the tree image in people’s mind? If this is a tree and if I know this
is a tree, why do I want to portray it? When I speak like this, Pascal’s
saying; “There is such a pride in the painting that makes us admire the thing
we don’t admire to, in its distinctive status by the similarity.” comes to my
mind. Of course, the instinct Pascal mentions as pride, lodges its meaning
coming to ears beyond, in itself. Pascal has recognized that painting is nearly
identical with philosophy action. I use the identifier “nearly” sideways the
painting. Because through the intellectual history, the artist has always been one
step further of the thought person. Various imageries, by the exposure of
semblance to the human have dispatched the minds to think upon. Surely, the
situation I summarized with the painting performance, is a phenomenon involving
all the arts. If it is essential to summarise without entering the spiritual
deepness, the portraying function for a painter, leave it aside wiping on a
brush to the surface, starts with the decision moment to be a painter before
all this ideas I mentioned. Because as the thing the painter looks at is not a
tree, the one we name by seeing in its canvas also is not a tree. Whether they recognize it or not, I
believe that all the artists look at the world with this line of vision.
 |
| Deniz Sagdic, “Portrait”, 2015, multi-layered transparent surface and color pigments, 70x100 cm. |
H.Ö.- How do you position your art and yourself within the frame of
daily art?
D.S.-
In our day, there are several
criticisms about contemporary art as the sense of art only taking a fancy to
the sensus, dealing with surface aesthetics more than theoretical meaning,
trying to sublime with its dimensions. My problematic causing use of the words
“in our day” and “contemporary” together, is also within this dispute. Because
in the same criticsm environment, this term also makes a discussion platform on
its own. While remarking contemporary art, making a chronological alignment or
on the other hand approaching contemporary as a category heading, isn’t made up
of a play of words; it means as a matter of fact, art isn’t understood. Because
as I said above; when you handle a tree taking part in a painting as the tree,
you don’t mention art anymore.
 |
| Deniz Sagdic, “Recurring”, 2015, oil on canvas,
120x80 cm. |
H.Ö.- The speeches and texts about you and your works of art
generally start with “her idiosyncratic style”. Actually, whichever period it
belongs to, when your works are observed, it is possible to mention about the
differency of a Deniz Sagdic’s touch that is distinguished quickly. Is it an
effect you want?
D.S.-
It is not the object, the situation
or the feeling you want to portray, to interchange or to probe but the issue,
the artist’s own issue. Surely, this issue is being inverted through a period
that isn’t limited with yourself but a transferring, showing and sharing one. In
its own right, the situation of questioning conventionals is lying. The thing I
mention as is yours and conceptualizing you as you, the interior of you and
society and nature in the exterior of you, briefly all the things. While you
are probing the reality emerged by the whole, you are trying to express “the
whole” to the whole. Your way of seeing the world as an artist, at the same
time turns the way of understanding of the others except you, after a while. In
this respect, although your genre is not seeing the things and the form of
reflecting on purpose, it is a function I give importance to, for comprehending
of the others except you. For this reason, the pursuer’s expressing that it is
Deniz Sagdic’s, even without seeing my sign is in a crucial situation for this
bridge’s being built.
H.Ö.- Within the frame of your shared ideas what can you say about
the works you gathered under the “Soul” heading?
D.S.-
“Soul” is the name of a series I
started to compose to the end of 2013. Fundamentally, though it preserves the
same genre approach of my works in the previous period, it is in the quality of
trying which I probe the relationship of the images created in the mind and the
changes in the colour value. In every work, by grounding on a different colour,
it bases on this colour’s changed
versions at a minimum level for the contribution of creating image and spacing.
And this is a heading in the base of producing function of “soul’s” which is
understood only as technical but aiming to emphasize its inversion of cognitive
functions. In fact, I astonishingly experience every work’s turning to a
perceptual practice, which starts with series. When I say aloud now, I again
recognize that painting is more than not only a transferring and reflecting but
also an experience of projection to yourself.
 |
| Deniz Sagdic, “WONDROUS PLACE”, 2015, oil on
canvas, 120x80 cm. |
H.Ö.- There are also works in the mediums except the canvas and
differently techniqued playing a part in this exhibition.
D.S.-
In this exhibition, there are my works
created in a different style that the onlookers will see for the first time. The
thing I technically mention is a structural contrast in my work’s own inner
space besides the other works. Despite the fact that sterical dimension is a
relativistic notion, it aims to provide sensually the similar effect to the
visionary effect with the steric dimension created by the pigment’s batch in
the classical colouring. Of course, this effect is exciting with its supplying in
respect to giving sensation freedom to the audience by the multidimensionality
it has created.
H.Ö.- This exhibition will also be your first duty partnership with
Mine Art Gallery.
D.S.-
Although an artist’s relationship
she aims to found at the time and site ideally, firstly recalls this site’s
physical properties but the image the site executes makes further meanings of
sensual relationship. In the sense I mentioned, the area I will exhibit my works
at, Mine Art identity exceeding even the site, carries this exhibition to
bizarre perusals. It is a pride for me being able to do this project in the
period Mine Art’s 30th foundation anniversary which is nearly of the same age
of me. Especially when I think of the contribution to Turkish art by the
archivial edition of three volumes put into practice because of Mine Art
Gallery, the rooted and succesfull past’s again being reminded thanks to 30th
year exhibiton and documentary, the full measure it shapes at me as an artist
and art-lover is; appreciation. Within this scope, I believe that we mustn’t
ignore the contribution of private art galleries being subject to lots of
discussions about the forming of art environment especially in the countries that
have met with art very late. I am very happy that through this exhibition, I
will be a part of Mine Art.
 |
| Deniz Sagdic. |
FOR MORE
INFO
Mine Sanat Galerisi | Mine Art Gallery
Merkez / Centre: Teşvikiye, Poyracık Sok. No:1/1
Yasemin Apt. D:5 Nişantaşı/İstanbul
Şube / Branch: Yalıkavak, Palmarina No: D105
Merkez Mah. Çökertme Cad. Bodrum / Muğla
T&F: +90(212) 232 38 13 | info@minesanat.com
| www.minesanat.com
DENIZ
SAGDIC BIOGRAPHY
1982 Mersin - TURKEY
Doğuş University, Master Degree (acceptation with
full achievement scholarship) (2013-2015)
Mersin University, Faculty of Fine Arts
Department (Faculty first-degree) (1999-2003)
PERSONAL
EXHIBITIONS
“THE SOUL”, MINE ART GALLERY – BODRUM 2015
“THE SOUL”, GÜNEŞ SİGORTA ART GALLERY – ISTANBUL
2014
“WOMAN: OWNERSHIP” , RenART GALLERY – ISTANBUL
2014
“WOMAN: OWNERSHIP”, TURKEY İŞ BANK ART GALLERY –
IZMIR 2013
“DREAM and REAL”, PINELO GALLERY – ISTANBUL 2013
“DREAM and REAL”, GAMA GALLERY – ISTANBUL 2011
GROUP
EXHIBITIONS
“MOONLIGHT I” NK Gallery – WASHINGTON 2015
“States of Material III” Armaggan Gallery -
ISTANBUL 2015
“Wearable Art” Summart Gallery - ISTANBUL 2015
“New York Art Expo 2015” Gallery NK – NEW YORK -
2015
“Art for Civil Society Dialogue" IAA Workshop Exhibition - ISTANBUL 2015
“Kyoto Art Quake Biennale 2015” The Museum of Kyoto – JAPAN 2015
“Art for Civil Society Dialogue" Pamukkale Unirversity - DENIZLI 2015
“The Ribbon” Galatea Art Gallery – ISTANBUL 2015
“Ask'a Randevu" The Historical Town Gas Factory
Art Centre - İZMİR 2015
“Art for Civil Society Dialogue”, Workshop –
DENIZLI 2015
“TABOO”, İŞ SANAT – IZMIR 2015
“CLIMATE CHANGE”, Bozlu Art Project – ISTANBUL
2014
“PEKER ART AWARDS 2013” – IZMIR 2014
“PEKER ART AWARDS 2013” – ANKARA 2013
“EGEART International Art Days” – IZMIR 2013
“TUYAP ARTIST 2013 ” – ISTANBUL 2013
“ALL ARTS ISTANBUL” – ISTANBUL 2013
“Nart Center Group Exhibition” – ISTANBUL 2013
“DINAMO 1”, SWISS OTEL – IZMIR 2013
“KAV Young Art-1” – ANKARA 2012
“TUYAP ARTIST 2012” – ISTANBUL 2012
“Group Exhibition”, Gallery Miz – BODRUM 2012
“Nart Center Group Exhibition” – ISTANBUL 2012
“CONTEMPORARY ISTANBUL 2011”, Gallery Baraz –
ISTANBUL 2011
“TUYAP ARTIST 2011”, Gallery Baraz – ISTANBUL
2011
“SUMMER LOVE II”, Ekavart Gallery – ISTANBUL 2011
“PAPER WORKS” - International Plastic Arts
Association – ISTANBUL 2010
“40th anniversary of 1968's: Archaeological
Excavation of a Wind”, Cankaya Municipality – ANKARA 2009
“40th anniversary of 1968's: Archaeological
Excavation of a Wind”, Piramit Art – ISTANBUL 2008
“ISMEK - Group Painting Exhibition”, Taksim Metro
Exhibition Hall – ISTANBUL 2007
“Romance”, Bahariye Art Gallery – ISTANBUL 2005
“4th Streetart Festival” (Performance) – ISTANBUL
2005
“SUMMER/YAZ ”, Bahariye Art Gallery – ISTANBUL
2005
“MONALISTANBUL” – ISTANBUL 2005
“ŞEFİK BURSALI Painting Competition” – ANKARA 2004
“Nurseren Tor’s Studio” – MERSIN 2003
“3th Marmara University International Student
Triennial” – ISTANBUL 2003
“30th Silifke International Week of Culture” –
MERSIN 2003
“Group Painting Exhibition”, HILTON OTEL – MERSIN
2003
“Gaziantep Painting - Sculpture Biennial” –
GAZIANTEP 2002
“Antalya International Art Festival” – ANTALYA
2002
“Cukurova University Spring Festival” – ADANA
2001
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