The subjects that Zülal Çizmeci worked onfor her curiosity in psychology the basic subfields of psychology are concepts related to the human psyche and especially momentary moods. Only the moment is real in the background of your work, while arguing that everything else is temporary, it focuses on the human spirit that changes and transforms in the face of all the conditions of today's world. For this reason, she examines the effects of current issues that cause individual and social discomfort on human psychology and conveys them with her works.She uses  by opening the reality of the visuals the emotions and ideas  that she wants to highlight symbolizing it with the of marbling art presents its own surreal world to the audience.

Dear Diary..

September 2020

40x40x40 cm

apoxie sculpt, metal armature

Golem

Dans cette ville, la vie des habitants se construit autour de l'immense bassin d'eau, et, les maisons sur pilotis se développent à mesure que la population s'accroît. Le lac communiquant avec la mer, l'eau n'y est pas potable bien que le niveau de salinité varie avec les saisons. Les déchets liés au mode de vie sont déversés directement dans le lac par les habitants mais ce dernier reste préservé grâce à l'ensoleillement qui permet une désinfection naturelle. Les Ganvienou pratiquent ainsi la pêche et la pisciculture sur ce lac épargné par la pollution industrielle.

Ganvié la Venise de l'Afrique

„Resting Pieces“ | photography on Alu Dibond | 2020 | 60 x 40 cm

Resting pieces

As an artist, I’ve always admired and appreciated the formation process of a landscape. The dynamics of the landscape are strongly affected by the organisms that inhabit it and the elements that shape it. The structures of a landscape are created through a multitude of factors. In my opinion, this dynamic is the main reason why a landscape is an embodiment of a perfect creation. As an artist, I am striving to create something as sublime as a landscape.

In this project, I research my position in relation to the landscape and try to figure out what I can contribute. How does my ability to create, compare to the abilities of nature? What kind of positive influence and value can I provide as a human being?

To exercise this influence and to create the essential dynamic, I needed to use the same organisms and elements that one finds in nature. Through experiments with capturing landscapes through photography and drawing, I have gained a better understanding of the specifics of the factors necessary to create a landscape. Based on these findings I started to create my own landscapes. To construct, I was required to work together with nature. Within these landscapes, I have mainly experimented with the power of plants, animals, water, and human beings. Working with nature in this sense has made me question my position in the chain of creation. Only through partnership with nature itself, would I be able to achieve to gain a higher position within this chain.

As I shaped my self-made landscapes, the landscapes also shaped my vision. My perception evolved similarly to the evolution process of existing landscapes. One thing I’ve learned is to see the beauty, importance and influence of small beings instead of only bigger factors and gave them refuge in my own landscape. The landscape I created is a symbiosis of natural and cultural elements that are carefully selected and combined.

Positioning in the Chain of Creation

Brooklyn masculinity 


The concept of masculinity has been fueling my photographic research.

What fascinates me about the world we live in is the multitude of cultures, mindsets and actions spread across the globe. Social constructs develop over time, as society takes shape. I am in a phase of mass questioning; what are these boxes society created and put each individual into, and how we do, or don't, follow the norms of these social constructs?
Are we, as individual human beings, able to truly think for ourselves, or do we inevitably follow some sort of social guideline no matter how alternative and off the grid one may think to be. 


In this series I wish to open up the conversation regarding the concept of masculinity; what it means to men today and how they engage with it, navigating through the pressures of social conditioning. Through this photographic series I’ve interviewed my male Brooklyn subjects, asking them to reflect upon their upbringing and if they felt compelled to act accordingly. To my surprise, they answered with awareness that indeed they were attributed a roll which they  took on. 


Social constructs and conditioning keep on shaping behavior, and for the most part, people don't even question their beliefs, doings, actions and reactions. I wish to engage with my subjects, and viewers, inviting them to reflect. The process of taking a step back from our patterned life and habits, taking the time to actually think about our attitude in regards to what a citizen would consider the norm is my humble invitation to begin a thought process thus opening the conversation. 


Masculinity 

As long as we can open the window - Getting some fresh air these days, getting a new dimension.

Digital Collage
Fine Art Print on Hahnemühle William Turner Paper
50x65cm
Limited Edition of 10

As long as we can open the window

Name: Dreamer
Date: 2019
Size: 30 x 20 cm 
Medium: Mixed media on paper (framed)
Category: Collage 

Featured in the solo exhibition ‘American Poetry Through a Painter’s Eye’ (2020) and in the group exhibition ‘Athens Open Art’ (2020), both in Athens, Greece. Inspired by the poem ‘Dream Dust’ by Langston Hughes. 

Dreamer

2007 - 2017 - ongoing 

Digital photography project 

current edition:
52 x 52 x 5 cm
1 / 5 

Direct colour transfer on aluminium,
permanent ink marker, black aluminium frame. 

Border Lines is a minimalist photography project that spans for a period of over 10 years, with first prints being show at young art biennale in Moscow Museum of the contemporary art in 2008. It is a series of digital photographs of airport service vehicles guidelines on asphalt. Capturing the act of crossing borders, it focuses on the aesthetic of industrial mark making techniques framed in a minimalist composition, exploring the notion of borders as formal lines on the ground, which may remain abstract for one audience yet represent restrictions and rules for others. Suggesting that the city marked by the lines is place where set rules are being played out and experienced by different communities in different ways.

'BORDER LINES' 

These are made with a special technique that I developed inspired from a stone I found at the beach. 
Different colours stoneware, unglazed. 
Handmade with coiling technique, one of a kind pieces. 

Layers of time

Celebrating apart - my dad was 80years old at the end of January. A fine old age. He is fit & well, has listened to advice, stayed at home majority of the time since last March, and kept himself and my mum safe.
He has even had the first dose of the vaccination a couple of weeks ago.
​
The lockdown has disrupted many celebrations - a year ago we would have enjoyed a family lunch out, moaned about who was sitting where and argued over the bill!
​
Now it’s door step present and food parcel drop offs, plus zoom bingo - how things have changed!

Celebrating Apart

Yohana Oizumi is a Brazilian visual artist who lives and works in São Paulo. In 2019 she graduated from the University Center of Fine Arts in São Paulo. 

Artist of The Month ArtConnect Magazine February 2021 (Berlim).Contemplated by the residency FAMA MUSEUM Meios e Processos 2020. Finalist of the DASARTES PRIZE 2021.
Participates in exhibitions as in (BRAZIL) SUBSOLO, MuBA,  Goethe Institut, Instituto and Tomie Ohtake Núcleo de Cultura.(PORTUGAL) Galeria Ocupa and CAAA Centro para os Assuntos de Artes e Arquitectura.(GERMANY) NextMuseum io.(ITALY) Millepiani. (CUBA) FIVAC. (SOUTH KOREA) CICA MUSEUM.

Her research is focused on the resistance of some materiality, through the clash between "bodies"until the
exhaustion of matter and or self She is attentive at visceral aspects. 
"Getsemani", 2020/ "Sub Versões", 2019 and "After the Seventh Day", 2019 are performance that questions social control systems and their physical and psychological consequences by deconstructing, reconstructing, accepting and reframing marks and molds.

In "Inside Out", 2020 she crumpled a paper with her hands dirty with ink, until its fibers were exhausted and then she watched the light through the grooves and veins of this paper, i n this context, in "Flesh of My Flesh", 2020,  she reflected on discovering the inside out and on the internal possibilities that are similar to all people the visceral. The first work is a crumpled paper, the second is a sweet potato. The artist observes her daily life looking for aspects of the human body that characterize the visceral psychological.

Photography Credits:
"Getsemani", 2020 | Isadora Falcão. 
"After the Seventh Day", 2019 | Isadora Falcão, Raquel Cutin and Sophia Donadelli.

Getsemani, 2020

Brake Dust 2020

Brake Dust 

Plaster Casts measuring 16cm w x 41cm l & 20cm w x 36cm l 

Brake Dust explores the idea of what Air Pollution might look like if it were imagined as a sculptural object. This is the first in a series of works using crystallography to imagine the unimaginable and indecipherable. The individual casts are scaled-up models of the crystal magnetite, which is an iron ore. 
Brake Dust is made up of many nano particles that are released into the air every time someone brakes their car. Traffic pollution particles can contain many thousands of materials, including carbon, hydrocarbons and bacterial toxins. But because of the materials that modern brakes are made of, the dust that wears from them is highly metallic – including many types of metal, such as iron, copper, titanium and magnesium that studies have shown cause stress and harm to human cells. 
I wanted to visualize what these nano particles would look like if I scaled them up. I am inspired by Plato here in an attempt to make visible the invisible. 

Brake Dust 

Thinking about the nature of the ‘self’, there are so many contrasting and harmonic layers to 'identity' that make a simple definition or understanding difficult. Through using voice over and personal archive footage, Léna's film seeks to unpack this layered complexity and reach to the core of what the ‘self’ can be in an honest, vulnerable way - a human perspective in an increasingly mediated and technological world. 

L'autoritratto

As a former ballet dancer, I often like to observe and capture the human body in an abstract and surreal way, almost like creating a living sculpture. By hiding and revealing parts of it, I like to play with opposites that only contradict each other at first sight, such as reality and illusion, natural and artificial. 

"Faceless"

Performative action and an edition of 6 lithographs
Nida, Lithuania, and Berlin, Germany
50 x 36 cm
2015–2016


A friend told me a story of a conversation he overheard once when he was sailing. Two people were standing on the deck of a boat in the middle of the ocean, looking over the bow, out over the water. One of them turned to the captain and asked, “Where’s sea level?” They were not more than a couple meters from the sea surface, and yet there was an assumption of an absolute sea level that transcended their very real, situated experience of sea level.

Mulling over this question, I built a “high-resolution map-making apparatus” out of wood and acrylic glass. I took it down to the beach, placing it directly on the line between the land and sea. As the waves lapped onto the beach, I traced their limits and accumulated a collection of lines, recording the change in the coastline over the course of one hour. This document was later transcribed as lithographs, etching the fleeting coastline into stone.

Finding Sea Level

A work from my series VERTICAL GARDENS. The destructive sides of mankind fascinated me already as a kid. To realize that we are in the middle of a mass extinction is kind of heartbreaking, especially to see that the majority  of the art world is going to play a dominant role (NFT/crypto currency) in the demand of energy and accelerating global warming. 

Vertical Garden 2

Title: Spendthrift: One Kilometre Drawing
Materials: till receipt paper, ballpoint pen, pasting table
Dimensions: 180cm long x 60 cm wide x approx 110cm high. 

‘Spend Thrift: One Kilometre Drawing’ is a kilometre of till receipt paper entirely covered on both sides with ballpoint pen. One year in the making, it is a memorial to pointless labour and reckless over-spending. It is an embodiment of the greasy, sickening panic one feels when faced with financial crisis and the very real emotional cost of consumption. Debt is considered to be a symptom of bipolar disorder. 



Spendthrift: One Kilometre Drawing, 2020

What if in the near future, those who need a hip replacement are no longer satisfied with a functional piece? We have already seen dental prothesis used as an esthetic complement (used even without necessity). Will in the future people in need of a prothesis reach to artist in order to carry within a practical device that functions also as a work of art? Will it be noticable only through an X-ray machine or will some parts be exposed for everyone to see?⁠

If in the absence of need objects like this become fashionable, Will people exchange them for their healthy bones and tissue?⁠ How will all this look like?⁠
⁠
I fuse new production techniques like 3D printing to explore the possibilities that this materials bring into the arts. My sculptures subtly display negative space through organic shapes, reminiscent to cellular structure, bone or tissue.⁠

TANALTILSURIA

Ntutu Mara Mma (Beautiful Hair)


Hair has been at the center stage for defining and identifying culture and heritage. Over the course of history, humans have had (and still have) a fixation on these tough proteins called keratin that sprout out of our bodies, most noticeably, our scalps. The African continent and Her people have not been left out of this adulation as it has been used not only to enhance the beautification of the wearer but also to share a deeper meaning.

In early African civilizations, hairstyles could indicate a person's family background, tribe and social status; a person's identity could be learned by looking at the hair. It was also used to mark significant activities  and events such as war, death or connecting with deities. For instance,  in modern Senegal and The Gambia when men from the Wolof tribe went to war they wore a braided style, While a woman in mourning would either not "do" her hair or adopt a subdued style. What's more, many believed that hair, given its close location to the skies, was the conduit for spiritual interaction with the gods: perhaps why it was regarded as kinky hair and known to defy gravity. 
Ntutu Mara Mma (Beautiful Hair) investigates the change in trends of African hair styles with emphasis on West Africa as it seeks to draw attention to various symbolic references African hairstyles have taken up, from its African Origins to Slavery and Emancipation, the Civil Rights Era and finally how it is viewed and interpreted in Contemporary Modern Culture.


Add

Artists