Prof. Dr. Zehra Çobanlı

“In one of the short notes he left behind, Nietzsche says that a snake that does not shed its skin dies, and similarly, souls that do not change their minds also die, and therefore ‘are no longer souls’. Since conforming to the condition of continuity of life necessitates shedding its skin, here the skin gains vital life. What enables it to gain this feature is that it is mutable. While every object in life is within the framework of a formation that is shaped from the past to the future, the function that allows living beings to adapt to the situation they are in has followed a path parallel to this sense of formation. It can be said that the art object, which is the product of an artist’s activity that creates it, can maintain its existence by changing in the context of development.”

 

For me, “Blue” is the color of freedom, the sky, romanticism and the ocean, in fact, it is the color of “time”. It seems to me that “blue” or “blue ceramics” is the ultimate “identity of time” that extends to the past and the future and finds its expression in blue with an endless “graphic” identity. Of course, there is an infinite sense of freedom, or more accurately, there is the feeling and awareness of feeling oneself in the “flow of the bluest indestructible moment” as Tanpınar puts it. However, there is an artist who has the sensitivity and development in the search for perceiving the past and the future, cultural and aesthetic existence in revealing “blue” as a concept and reality of ceramics.

MAVİ