“Can you see us?” 2015

Drawing on x-ray, light box, frame 57x50cm (center), 51x41cm (others)

 

 

The X-rays of body parts seem regular as they appear before the eyes of the viewer.

They remind nothing but the ordinary fractions of our nature, which we think we have known for so long...Yet when illuminated with a blue fluorescent light, this very nature unfolds a part of itself which we have forgotten to know.

The x-rays of different individuals from different backgrounds and segments of the society reflect that our physical nature, which is an extension of our soul, is one and the same for each and every human being.

This ordinary sameness hides a glamour which is indescribable with words: It is our very essence which hides its beautiful colors behind the skin color covering our physicality. It is the awe-inspiring peacock in our deep self.

 

The much adored peacock had a prominent place in various cultures around the world.

Originating in India, the symbolism of peacock moved to West through Babylonia, Persia and Greece while it has always been of great importance in Far East. Serving as a vehicle for many deities such as Skanda, Brahma, Karttikeya, Lakshmi and Saraswati in India, symbolizing grace, joy, victory and love. In China, the peacock is associated with the goddess Guan Yin. The peacock eats the snakes and transforms evil into beauty while the goddess Guan Yin helps the suffering and transforms their suffering into beauty.

 

When the peacock displays its tail, it looks like hundreds of eyes are watching us. Because of this, the peacock has been associated with the all-seeing eye of God. In Greece, symbolized the goddess's starry heavens and omniscience, 

while Roman empresses used it as their royal symbol.

While its unmatched feathers spread glamour across the world as the bird opens its beautiful tail, peacock has been taken to represent the ego or vanity in some Western beliefs and Medieval bestiaries as well. 

Da Vinci has written that peacock is more inclined to vainglory than any other creature.

Peacock reflects our noble and unparalleled beauty only when our 'self' is awake and conscious; when the human becomes the divine.

Only when the self becomes 'en-lightened', the human may become aware of a more divine nature in him.

 

Only when the body parts are illuminated by the blue fluorescent light, the human can see the Peacock behind, which will transform his physicality into the divine spark.

The human is then dead and reborn once again, awakened to a deeper nature. It is the resurrection.

Because of the belief that the peacock's flesh did not decay after death, it became a symbol of Christ and the resurrection.

The symbolism of the peacock, the phoenix and the Iranian Simurgh, a mythical bird described as a benevolent, mythical flying creature, interconnect at a deeper level, where we see they signify the very identical qualities, only slightly differing according to the different parts of the world…

In Greek mythology, phoenix is a long-lived bird that is cyclically regenerated or reborn. Associated with the sun, a phoenix obtains new life by arising from its ashes.

Since the simurgh and Phoneix are reborn again and again, they are believed to possess the knowledge of all the ages.

 

The Persian spiritual allegory The Conference of the Birds beautifully describes the mystical and divine nature of Simorgh…

 

The story recounts the longing of a group of birds who desire to know the great Simorgh, and who, under the guidance of a leader bird, start their journey toward the land of Simorgh. One by one, they drop out of the journey, each offering an excuse and unable to endure the journey.

The birds must cross seven valleys in order to find the Simorgh: Talab (Yearning), Ishq (Love), Ma'rifat (Gnosis), Istighnah (Detachment), Tawheed (Unity of God), Hayrat (Bewilderment) and, finally, Fuqur and Fana (Selflessness and Oblivion in God). These represent the stations that a Sufi or any individual must pass through to realize the true nature of God.

“First Supper” 2012

85x119 cm (3ed.+1ap), fine art print unique frame

“Me in the mirror, you with in me” (Self - portrait), 2012

8 pieces (36x26cm each), mixed media

“Self Deception”, 2012

184x50x104 cm, animatronic installation, mixed media

 

Belief, faith and not internalizing the process and feelings during the course of personal development, opting for the easy way out is being two faced towards oneself, in other words, deceiving oneself. Come on let’s be honest! How much do you actually feel and how honest are you with yourselves?

“Within my works I always asked myself how I feel and why I feel the way I do.  Because, I figured if no answer is forthcoming from me then it may come from someone who feels similarly. These are the questions I asked myself, I ask you, him/her: Firstly, why can’t I belong after I am born? Because I don’t feel safe (embryo). Then I feel the control, conscience and paradoxes of being a human (organ inc). Then how we forget that we are single as we disintegrate into becoming the “other” (geometry 1,2).  Then I realize that I simply want to “be” and wonder if I can become (paradise bird) and on this journey I question the sincerity and honesty of the love and faith in my heart (self-deception).”

“Paradise Bird”, 2010

130x40x50 cm, animatronic installation, mixed media

Bird has always been a symbol of freedom in every aspect of art, literature, even religions and mythology. Jung describes the bird as change of body,

mind and thought.

In a struggle to survive, man is sociologically, psychologically and physically 'bound' by many

factors such as culture, society, sex and religion.

Paradise symbolizes the state of getting free from

those bounds, a state which one just gets to 'be.'

Paradise Bird's transparent body and cables

represent one's rebellion to way of existence in this

world and pursuit.

 

“Making a sad confrontation with human nature, Paradise Bird is a geopoetical meditation on ‘being’, which is related to immigration and cultural identity.”

                                                                    

Will McCrory

 

“Organ INC.” 2009

35x70x40 cm, organic materials: genuine leather, animal bones, stuffed with papier machet and

organic ropes.

This futuristic art project's intent isn't to tell something against the scientific research. It dwells on questions such as “Is there an ethic about human's interference with nature?” and “What should be the dose and purpose of this interference?”

 

We live in an age when nature is a material which can take any form in humans' hands. We can see it on the paper we hold history which extends to destroyed forests or genetically engineered vegetables and meat which food industry sneaks on our table.

 Work on genetics has split the world in two: One side assets possible unpredictable metabolismic changes on genetically engineered organisms might be the end of the nature and humanity eventually. On the other hand, one siteds advocates the process saying there is no danger and  any considerable negativity.

As the subject matter has generated a serious public interest, it was easy for me to find references. On every article I've read, by every click on the internet, I've reached to numerous documents about subject matter. On those references, one creature which is most associated with the experiments was pig.

 

Skin transplant from pig to human

Lung transplant from pig to human

Limbs and organs which was grown in pigs

Tissue reconstructed with pig DNA…

This gave me inspiration to build a new corporation: Organ INC.

Corporation's first product is also indicates first step of customized organ production:  'super pigs' inside of which human hearts gets cultivated.

Latest miracle of genetics, super pigs indicate one small step for a pig, one giant leap for mankind on the road to immortality.

 

When you consider fast development in the age of science, technology and marketing we are living in, you will hear the sound of that giant leap and see that ORGAN INC is already beyond of being fiction.

 

In Serra Behar's “Untitled,” a medicine cabinet, empty except for a few rosaries, is affixed to the wall, offering a thinly veiled criticism of the conflict between doctors and Islamic healers in Turkey. 

Nazlan Ertan

Culture Editor

Belki günlerden son gün, son saatler.

Hazırlıksız  yakalandım. 

Kimilerinden daha mı şanslıyım?

Ne farkeder. İstikamet aynı.

Daha sakin olabilmemin yolu var mı?

Yalnızım...

İçimdeki çocuk korku çığlıkları atıyor...

Onu nasıl sakinleştireceğimi bilmediğimi fark ediyorum.

Masadaki çanağın içinde koleksiyonunu yaptığım, farklı inançlara ait,

boncuk, boncuk, sıra sıra tesbihler, malalar...

Süs işte! 

Hindistan'dan aldığım şu rudrakşa tesbihi mesela;

Tapınakta gördüğum rahipler takıyordu boyunlarına.

Bulunsun deyip almıştım.

Kilisede yaktığım mumun ardından hani belki tutar ya diye dilek tutmuştum.

Oradan da bir tesbih.

Bulunsun diye.

Bilirim bu topraklarda hep bir ezan kulağımda..

Olur ya birinin arkasından okur gibi mırıldanırım işte...

86’lık 99’luk 105’lik onlardan da var.

Bulunsun diye.

Ve şimdi çanağa bakıyorum boş gözlerle.

Ya benim tapınağım? 

Dua da bilmem. Bildiğim sadece iki hece.

En iyisi  gözlerimi kapayıp, kendi nefesimi takip etmek.

Birden bir ses;

“Bırak şimdi bütün bunları ve sakinleş. Elini kalbine koy ve sadece hisset...”

Ertesi günü gördüm. Şükrettim. O sese minnet duydum, kendime de.

Tesbihleri, eskiciden aldığım ilk yardım/son yardım dolabına güzelce dizdim,

Bilmediğim dualar eşliğinde

Süs olsun diye...
İnanlılara, inançsızlara selam olsun diye...