The Thing Released into the Water: Sirin Koçak’s Ceramics



Adile Feyza ÇAKIR ÖZGÜNDOGDU Ceramics Art + Perception 109 2018 Art + Perception Home

Art returns things it gets from life, back to life inherently. It gives life to the lives of others through various reckoning1. In one respect, art indicates a thing that we have but failed to realize among the endless details of life. It is like being stopped and overhearing, and then being turned around to look at the vision created by someone who is following their own traces. We can see that the melodies, colors, links, searches and challenges in our life are also parts of the life of another person, or other life parts that we do not recognize until they hit our wall and we share them. In the same way we can approach the exhibition of this artist as her bringing her works together and releasing her own life parts into the flowing water, and unknown receivers give other lives to the work with their various reckonings.

A series of life parts released into the water, washed ashore with the latest exhibition of Sirin Koçak. When we look at the artist's body entire body of work, we see that she shares with us the things that touch her heart. When we begin to descend into the embedded meaning in the layered histories of ceramics, we see that the artist exposes the thing owned by her. The characteristic heart forms of Koçak, that she is closely identified with, continue to be seen throughout this exhibition as she explores
The heart believing itself gains another
and its associated theme of fragility. In this study, the artist evokes the feeling of hearts beginning to lose their liveliness, suggesting that there must be a reason for the heart to be lively. The surfaces of these tired forms have begun to crumble like dry soil provoking curiosity regarding the emotional aspect of the heart. To assist in understanding the work, Koçak points out that there is a change in heart beats when we feel enthusiasm, happiness, fear, sadness and fatigue. She further points out that problems increase the sensitivity of the heart; that there is an emergency associated with fragility, causing corrosion and destruction that first creates fine scratches, and then deeper cracks. The artist goes on to state “with the increase in black tissue and cracks on the heart, the colors are imprisoned.” Hope left its place to the darkness and the lines continue to become darker until the cracks on the surface of heart began to appear, followed by more cracks.
Yet, hope is always hidden somewhere; it twinkles and manages to resuscitate life and cover our whole body. Within the hearts of Koçak we feel that each broken heart is waiting for a new start, so it can beat again.

The start is a single point. It is a seed that produces birth. If we accept time as a line separating the moments, days and years into slices, we must see that life has a start and an end. However, when we perceive life as a transformation, we can further perceive an endless cycle of diversity, and an endless cycle of integrity. In this situation, the start is any point in the cycle; whether that point is you or any moment in your life, all these changes and transformations explain eternity. Both with formal structure and linear compositions, the Circle series can be thought to hide fragments regarding this structure of the universe. In this series, we see the circles expanding by surrounding themselves on sealed bowls in the shape of a hemisphere. When we approach these ceramics to read the lines, as if to follow the life record of an old tree, the spiral lines attract our attention further. Our lives are recalled in the same way as an old tree, line after line, day after day, year after year. Koçak uses another memory from nature – when she took a stone and threw it into the waters of a calm sea and watched the expanding circles grow, until they united as one.

Within the hearts of Koçak we feel that each broken heart is waiting for a new start, so it can beat again.


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