Contemporary artist Dilek Yalçın invites the audience to an uncommon playground of time travel through her new exhibition that plays on the relationship between objects and time.
Including 49 works, paintings and sculptures, “Time Travel” deals with the concept of time through an enjoyable perspective. The exhibition is the artist’s third solo work following the “Innocence of Objects,” held at Tophane-i Amire in Istanbul last year and attracted significant attention from many art goers. This attention kept Yalçın motivated and inspired after being hailed by all the feedback and appreciation of the audience. “They are all veins of my art carrying fresh blood to me during my practice and showcase,” she explained.
For this, after her first solo exhibition, she kept creating pieces. They automatically formed a collection to be showcased and meet the audience.
Dilek highlighted two concepts in particular when she elaborated on her “Time Travel” creation process: COVID-19 and the perception of time. “Last year, I had my first solo exhibition, ‘Innocence of Objects,’ which I started creating during the lockdown. That period changed my perception and understanding of time and the material. First, I was making paintings of objects, and then I realized the objects indeed make us feel time,” she said.
“Thus, I decided to construct my current exhibition based on the objects and their relationship with time. Old and nostalgic objects are my points of focus. I allow my figures to take us back to our childhood or youth as if we are on a time travel machine, you stick to an object, and you are exactly at the time when you had specific and special memories,” she added.
As the exhibition takes visitors on a nostalgic journey, Yalçın explained how she achieves this through the dazzling magic of mere objects.
“After I decide on my theme and just before I start, I try to read and figure out what others – philosophers, linguists, authors, and artists – have said or created about my theme. And ‘time’ in general is a comprehensive concept to contemplate. However, during my brief study, I concluded that ‘time is evident via objects.’ Einstein’s theory of relativity also supports the idea that objects are evidence of time. We learn from the past through the archaeological objects as witnesses of ancient times. Hence, in a sense, I also strive to make an archive for the next generation through my art. Most of the objects in ‘Time Travel’ are nonexisting because they are either out of use, old-fashioned or beaten by the technological new version of them. However, by painting them on my canvas, I bring them to the surface of history and attribute immortality to art. That is the fantastic side of it. Even a simple object can become immortal in the hands of an artist, and of course, thanks to the art goers who will value it,” she said.
“Another aspect of my exhibition is receiving exciting feedback from my viewers. They say they face their past through my images, which is like therapy. Although I did not have such an intention, I am happy to hear that my art, not only the object matter but also bright colors, my style, and my linen material are remedial,” she added.
Yalçın ceaselessly continues to expand her knowledge in art, striving to produce it with top inspiration daily. Creating art for her is a “nonstop, fun, interactive life journey.”
“I feel like I am one of those lucky ones as Confucius said, ‘Choose a job you love, and you will never have to work a day in your life.’ My art is one of the reasons I frequently resonate with gratitude,” she explained.
As the objects carry great importance within the frame of her exhibition, she explained the selection process: “Sometimes an object triggers the theme, or sometimes my mind finds a certain theme and I start picking my subject matters. The creation procedure is the real journey for the artist. You grow and evolve along with your art productions. Also, during the creation, I am inspired by my entourage too. They share their ideas, and I take notes. It provides interesting brainstorming. For instance, the blue picnic cylinder idea is from a friend. He thought he had made a joke, but I did not take it for granted and painted it. The blue picnic cylinder is like our common national consciousness. How could I ignore it ... In a nutshell, my selection of objects is random or conscious. What is important is not wandering out of my theme frame.”
Yalçın generally employs linen in her works. It carries great importance for her as the history of linen is ancient as humankind: It was used to cover the corps to make mummies, and later came the clothing for casual wear in Egypt in A.D. 5.
“Since then, raw linen has been used because it is very healthy, organic, recyclable and exquisite. Regarding my preference for the linen forms of art, that ancient and wise material is like a balancing element or an antidote to my contemporary style. It makes a bridge between the past and the present. Its antique connotations make me and the art goers feel warm and cozy, like home,” she explained.
Of course, finding the material that spoke to her was an arduous path.
“I can truly say that finding the right material for an artist is like finding your soulmate. You search and search, try and try, and you get disappointed or hurt sometimes, but in the end, there comes an ‘aha’ moment, and bingo, you are matched. The basic material of my canvases is linen. So, I had those eureka moments with linen during my painting masters study at the University of Arts London and did not give up on it after that,” she said.
“Along with linen, I use gouache for my current use of paint. I used to use pigments and oil paints in London; however, considering gouache and acrylic are more practical and enable me to create more, I prefer them,” she added.
“In terms of my paintings, I may be considered a conceptual artist working on improving ideas for art installations. Installations allow me to create in a more liberal field compared to canvas painting. There are more options of materials – anything may be your material – and theme, too.”
Striving to practice art after a series of different jobs, Yalçın decided that she wanted to study painting in London. After applying to three prominent institutions, she began her studies at the London University of Arts. “I quit my job in Istanbul, and one morning, I opened my eyes in London. Studying art was an outstanding experience for me and my art career. I stayed in London for one year of a formal master’s education of four terms and returned to my country. It was just before COVID-19. After that, I opened my studio in Ankara. And for almost three years, I have been making art and joining national and international group shows along with solo exhibitions,” she said.
Her solo exhibition “Innocence of Objects” included 200 paintings and three installations on the world's major problematic issues: migration, women’s rights and COVID-19.
“I see myself as an artist and communicator through art. I want to have a say as an artist, but neither politically nor ideologically. Just for the sake of a better world, just like the utopia of many artists and fiction authors. I am very much inspired by Thomas More’s ‘Utopia’ in which he draws a portrait of a ‘world’ where people freely make art, speak and live art. So that they are more peaceful, more clever and wiser. I trust in art,” she said.
The exhibition can be visited until Feb. 2 at Ziraat Bank’s Kuğulu Art Gallery in Ankara.
