EVERYTHING SHOULD BE UNDER THE SUN...
We have only one WORLD yet! If we destroy it, where else will we go?
Winter 2002: 8th issue - **2nd Anniversary**
Gul CAGIN: Corresponding to both concrete reality
and invisible interiority


Art Statement


My work embraces variety of media ranging from installation performances, video projections to drawings and paintings. My objects act as surrogates for the absent bodies invoking the sublimated and the regressed subjects. To this end, I estrange the familiar objects related to the body and to the domestic space. Estrangement is achieved sometimes with the alteration of the normal objects or with the cancellation of its function, for example; in one of my installations, the bathroom fixtures unlike the real life fixtures are at the verge of collapsing due to the material that has been used. Touch of the eerie or the pathetic is a part of my work to emphasize the erosion of the subjects. My performances usually stage broken boundaries of the violated body and the alienated self, the other.

Slaughter House


I am interested in exploring the process in which how the bodies are socially, culturally, sexually and psychologically constructed and, in turn, how the bodies project themselves into their environment. Neither the body nor the environment is isolated entities. Their relationships are dynamic and their interactions manifest themselves in various ways. In my recent projects, to articulate the relationships between the body and its environment, I employed mixture of materials relating to body, architecture and furniture -chairs, tables, clothing, fabric, wood, motor, sound, video and so forth. -  These objects partially refer to reality to create some familiarity in minds so that one can easily access to the work. Choice of materials is also an important component of my work. I choose materials that are able to invoke bodily senses as well as visual ones.  The various parts of my work seem to be twofold: corresponding to both concrete reality and invisible interiority.

Narrow Room


In "Narrow Room" I subjected the furniture to an imaginary architectural experiment: My proposal was that what happens to the furniture if I were to push the walls of a room from both sides toward each other. The result is a narrow room and narrow furniture. The narrow furniture embodies not only literal but psychological reduction of space. To imply the psychological narrowness of the space, I placed my body in the work. I stood next to the furniture and lied under the table to map my movements within the perimeter of the work. I drew my footprints and my body's touches to the walls to indicate the difficulty of moving freely within this space.



"In-Between Walls" and   "False Houses" reflect the interiority of the female body by creating forms that appear to be a labyrinthine accumulation of found and fabricated objects. The miniature shelf-like structures in "In-Between Walls" refer to modernist architecture and imply the hybrid structure of female interiority. Fragmented and divided there is nothing inside in these structures but only void. "False Houses" are made of cardboards altering the precise measurement of the architectural projects. The doors are placed on the roof; the chimney located on the sidewall; in short, everything is located in the wrong place. Entrance and exit is denied to indicate the psychological experience of the domestic space.

Specific Land, II


 
"In-Specific Land" is a collaborative project between me and another artist Lucy G. It is a video projection on the fences. In the actual video, Lucy takes a walk with her dog in a specific neighborhood. The houses are fenced relentlessly reflecting the owner's need for security and the paranoia that comes with this mood. Later we projected this video on the fences that built for the gallery space. With the help of the two mirrors the screen is expanded and projected on to the curved fences.


This issue dedicated to such distinguished poet & composer as (alphabetical order):
Nazim HIKMET & Ilhan MIMAROGLU

We have been celebrating our 2nd Anniversary.
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. 8th issue. Winter 2002, New York.
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