Tugce Ulku Kesen fuses traditional Eastern carpet motifs with industrial latex textures, examining cultural hybridity, contemporary forms of Orientalism, and the modern individual's "second skin"
1. How did the idea of bringing together traditional visual memory and contemporary aesthetics emerge in your artistic practice?
I have always felt a strong connection between the deep-rooted cultural heritage carried by geography and the artificial reality brought about by the modern industrial world. The visual tension and contrast created by the collision of these two opposing poles became, for me, the most sincere way of expressing the contemporary individual's search for identity.
2. What does the concept of cultural hybridity mean to you, and how is it reflected in your work?
Hybridity is a state of belonging neither entirely to the past nor completely to the future, a condition of being in between. In my works, I place contemporary elements alongside traditional carpet and kilim motifs to reveal this hybrid identity and the layering of cultural narratives.
3. What was the starting point for the series "The Romanticism of Orientalism"?
It emerged from a desire to examine the romanticized and exoticized image of the East as seen through a Western gaze. In this series, I aim to reconstruct this imposed "romantic" perception of the East through the language of modern and rigid materials, questioning its artificiality.
4. What historical and cultural meanings do the carpet motifs used in this series carry for you?
Carpet and kilim motifs are the shared visual memory, collective subconscious, and silent narratives of these lands. Each motif represents a story, a sense of belonging, and deep-rooted origins; for me, they are an inseparable connection to the past.
5. What kind of visual and conceptual contrast did you aim to create by combining traditional carpet patterns with industrial latex textures?
Against the warmth, familiarity, and timelessness of traditional forms, I employed the artificial, cold, and industrial nature of latex. This contrast makes visible the uncanny yet compelling boundary between the sacred and the fetishized, between the past and the present.
6. What do the glossy surfaces and the idea of a "second skin," which frequently appear in your works, represent?
Glossy surfaces and synthetic textures represent the armor that modern individuals wear against the outside world, their "second skin." This skin functions both as a display that conceals or enhances desire and as an artificial layer that protects vulnerability.
7. How do you interpret the relationship between social masks and individual identity through your art?
In today's world, individuals often feel compelled to wear social masks in order to gain acceptance. The layers in my works reflect precisely this condition. When the glossy artificial armor is peeled away, I search for the raw, traditional, and fragile essence beneath.
8. Do you think the concept of Orientalism still maintains its influence today? What is the role of art in this context?
Absolutely. It has simply changed form; today, it is reproduced through digital aesthetics and consumer culture. The role of art is to expose this new generation of exoticization and the identities that are transformed into objects of consumption, confronting viewers with this artificiality.
9. Around which questions do issues of identity and representation take shape in your creative process?
Questions such as "How much of what belongs to us is truly authentic?", "What do we sacrifice while trying to preserve local identity in a globalized world?", and "To what extent does our outward image represent our inner essence?" form the core of my practice.
10. In your work, you bring together the mystery of traditional aesthetics and the speed of contemporary life. What interests you most at the intersection of these two worlds?
What fascinates me most is the sense of discordant harmony and uncanniness that emerges at the intersection of these opposing worlds. When the weight of the ancient meets the transience of the modern, a powerful contemporary mythology begins to take shape.
11. What emotions or thoughts do you hope viewers will confront when encountering your works?
I want them to experience something that feels both deeply familiar and strangely foreign. I hope they are first drawn in by the seductive quality of the glossy surfaces and then prompted to question their own sense of belonging when they encounter the cultural codes hidden beneath.
12. The theme of fetishism has become increasingly prominent in your recent works. What conceptual territories does this theme open up for you?
Here, fetishism extends beyond its purely erotic connotations. It concerns the way objects, materials, and even cultures become excessively desired and consumed in today's world. By positioning the material itself, latex and glossy surfaces, as an object of desire, I seek to question the mechanisms of consumer society.
13. Could you tell us a little about your production process, in which you combine digital construction with classical painting?
The process begins in a digital environment. I collage motifs, layers, and forms digitally, establishing the mathematical structure of the composition. I then transfer this digital draft onto canvas or another physical surface using classical painting techniques, bringing it together with the organic energy of craftsmanship.
14. How do you evaluate the possibilities and limitations that digital technologies bring to artistic production?
Digital technologies offer immense freedom and speed, particularly during the stages of composition and experimentation, which is a significant advantage. However, the physical texture of materials, their unpredictability, and the organic, tangible connection that paint establishes with the viewer remain absent in the digital realm. This is where the limitation begins.
15. How does living and producing work in Istanbul influence your artistic practice?
Istanbul is inherently a collage-like city. On one street, you may encounter centuries of history, while just behind it stand massive industrial buildings or modern skyscrapers. This contrast, chaos, and multicultural structure directly nourish the coexistence of opposing forces that I seek in my work.
16. What developments in the contemporary art world currently inspire and nourish your practice?
I am deeply inspired by the dissolution of disciplinary boundaries and by the radical reinterpretation of traditional crafts, such as textiles, ceramics, and weaving, through the language of contemporary art.
17. Could you tell us about any projects you are currently working on or planning to present in the near future?
I aim to expand the contrast created by traditional motifs and industrial materials such as latex and glossy textures into larger-scale installations and immersive spatial experiences. I am currently developing new exhibition formats in which viewers do not merely observe but become physically engaged with the artificial skin and textures themselves.