hakkında about

As I am a Turkish ceramic artist and academic researcher living in Turkey, it is my principle aim to introduce traditional Turkish ceramics worldwide in my point of view. It is a common thought that introduction of traditional Turkish ceramics has been made and is still being done by various institutions and individuals which I believe is not enough.

In Turkey, lots of ceramic giftware producers, especially in Kütahya, which is the ceramic center of Turkey, use 16 th. century İznik motifes, forms or its fritware body. But traditional Turkish ceramics can not be limited under the frame of Iznik wares. For instance, although ceramics of Seljuk and Beylik periods and 18 th. Century ceramics reveal unique designs and diverse production techniques, they all seem to be forgotten by the contemporary ceramic manufacturers except a small number of them. One of the main reasons for this is the effect of fashion. Fashion can also be a problem for other national traditions but my intention is to introduce traditional Turkish ceramics to Turkish people especially in an academic manner.

Usage of traditional ceramic terms are also a problem for traditional Turkish ceramics. This is mostly caused by the current literature of traditional Turkish Ceramics which have often been written by western academics. This is a problem because of the translated terms, especially the meaning of ‘tile, (çini)’, in Turkish. And in Turkey ‘çini’ does not give the exact meanings and so it creates a conflict.

Before the beginning of 20 th. Century in Turkey, ceramics were only produced for daily usage, but today, it also involves the artistic ones. The forms of the ceramics shows the development of technology but also it displays the tradition of a nation. When we produce a ceramic plate as a decorative piece, we must not limit ourselves to traditional forms. But it shouldn’t be confused by using the traditional motifes on every absurd form.

For these reasons and some the others, in order to reach my aim, I use traditional techniques as lustre which was seen on Seljuk periods ceramics, on new disfunctional forms using symbolic meanings of the motifes. As they are unusual forms in view of other people, often I have the chance to explain my view when people ask about them.