{"id":1249,"date":"2026-11-02T12:50:31","date_gmt":"2026-11-02T12:50:31","guid":{"rendered":"https:\/\/atolyer10.com\/?p=1249"},"modified":"2026-11-02T12:50:31","modified_gmt":"2026-11-02T12:50:31","slug":"cakal-dugunu-sislerin-arasinda-saklanan-hikayeler","status":"publish","type":"post","link":"https:\/\/atolyer10.com\/?p=1249","title":{"rendered":"\u00c7akal D\u00fc\u011f\u00fcn\u00fc: Sislerin Aras\u0131nda Saklanan Hik\u00e2yeler"},"content":{"rendered":"
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\"WhatsApp-Image-2026-10-12-at-11.46.59-edited-1-1024x558<\/figure>\n<\/div>\n\n\n

Baz\u0131 sergilerde eserlerden \u00e7ok, eserlerin ard\u0131nda saklanan hik\u00e2yeler akl\u0131mda kal\u0131yor. Canan Sava\u015f\u2019\u0131n Muse Contemporary\u2019deki ki\u015fisel sergisi \u00c7akal D\u00fc\u011f\u00fcn\u00fc de benim i\u00e7in b\u00f6yle bir deneyim oldu. Sanat\u00e7\u0131n\u0131n babas\u0131na ithaf etti\u011fi bu sergi, ilk bak\u0131\u015fta soyut formlar, iplikler ve farkl\u0131 dokular \u00fczerinden ilerlese de asl\u0131nda merkezinde olduk\u00e7a ki\u015fisel bir hik\u00e2ye bar\u0131nd\u0131r\u0131yor: haf\u0131za, aile ba\u011flar\u0131 ve bir ku\u015faktan di\u011ferine aktar\u0131lan hat\u0131ralar.<\/p>\n\n\n\n

Serginin ismi, Karadeniz\u2019in \u00c7ayeli il\u00e7esine ba\u011fl\u0131 Arsovos k\u00f6y\u00fcnde, g\u00fcne\u015fli bir havada ya\u011fmur ya\u011fmas\u0131 ve ormana pus inmesi durumuna verilen addan geliyor. Sanat\u00e7\u0131n\u0131n \u00e7ocuklu\u011funda babas\u0131ndan dinledi\u011fi bu hik\u00e2ye, y\u0131llar sonra Akira Kurosawa\u2019n\u0131n D\u00fc\u015fler filmindeki \u201cTilki D\u00fc\u011f\u00fcn\u00fc\u201d sahnesiyle yeniden kar\u015f\u0131s\u0131na \u00e7\u0131k\u0131yor. Birbirinden uzak iki co\u011frafyada benzer bir do\u011fa olay\u0131n\u0131n benzer hik\u00e2yelerle anlat\u0131lmas\u0131, serginin \u00e7\u0131k\u0131\u015f noktas\u0131n\u0131 olu\u015fturuyor. Bence bu kar\u015f\u0131la\u015fman\u0131n en g\u00fczel taraf\u0131, k\u00fc\u00e7\u00fcc\u00fck bir \u00e7ocukluk an\u0131s\u0131n\u0131n zamanla k\u00fclt\u00fcrler aras\u0131nda ba\u011f kuran bir anlat\u0131ya d\u00f6n\u00fc\u015fmesi.<\/p>\n\n\n

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\"WhatsApp-Image-2026-10-12-at-11.08.35-2-623x1024<\/figure>\n<\/div>\n\n\n

\u0130stanbul do\u011fumlu Canan Sava\u015f, Marmara \u00dcniversitesi G\u00fczel Sanatlar Akademisi\u2019nde H\u00fcsamettin Ko\u00e7an ve Ergin \u0130nan\u2019\u0131n at\u00f6lyelerinde e\u011fitim alm\u0131\u015f; daha sonra Tayfun Erdo\u011fmu\u015f\u2019un at\u00f6lyesinde resim, cam ve grav\u00fcr alanlar\u0131nda \u00e7al\u0131\u015fmalar y\u00fcr\u00fctm\u00fc\u015f. Mezuniyetinin ard\u0131ndan 1999-2007 y\u0131llar\u0131 aras\u0131nda San Francisco\u2019da ya\u015fayan sanat\u00e7\u0131, farkl\u0131 sergi ve sanat etkinliklerine kat\u0131lm\u0131\u015f, \u0130stanbul\u2019a d\u00f6nd\u00fckten sonra sanat yazarl\u0131\u011f\u0131 da yapm\u0131\u015ft\u0131r. Sanat\u00e7\u0131n\u0131n farkl\u0131 malzemelerle kurdu\u011fu ili\u015fki, \u00c7akal D\u00fc\u011f\u00fcn\u00fc sergisinde de olduk\u00e7a belirgin. Ah\u015fap, iplik ve katmanl\u0131 y\u00fczeyler, yaln\u0131zca bi\u00e7imsel unsurlar olarak de\u011fil, ya\u015fanm\u0131\u015fl\u0131klar\u0131 ta\u015f\u0131yan ve d\u00f6n\u00fc\u015ft\u00fcren malzemeler olarak kar\u015f\u0131m\u0131za \u00e7\u0131k\u0131yor.<\/p>\n\n\n\n

Sergide beni en \u00e7ok etkileyen noktalardan biri, eserlerin soyut anlat\u0131m\u0131na ra\u011fmen ki\u015fisel bir hik\u00e2yeyi hissettirebilmesiydi. Baz\u0131 \u00e7al\u0131\u015fmalarda ipliklerin rastlant\u0131sal bi\u00e7imde birbirine dolanmas\u0131, sisin i\u00e7inde kaybolan g\u00f6r\u00fcnt\u00fcleri ve haf\u0131zan\u0131n belirsizli\u011fini \u00e7a\u011fr\u0131\u015ft\u0131r\u0131yor. Baz\u0131lar\u0131nda ise belirgin yatay ve diyagonal \u00e7izgiler, daha kontroll\u00fc ve kararl\u0131 bir d\u00fczen olu\u015fturuyor. Siyah, beyaz ve k\u0131rm\u0131z\u0131n\u0131n \u00f6ne \u00e7\u0131kt\u0131\u011f\u0131 bu dokusal y\u00fczeyler aras\u0131nda dola\u015f\u0131rken sanat\u00e7\u0131n\u0131n an\u0131lar\u0131 do\u011frudan resmetmek yerine, onlar\u0131n b\u0131rakt\u0131\u011f\u0131 izleri g\u00f6r\u00fcn\u00fcr k\u0131lmaya \u00e7al\u0131\u015ft\u0131\u011f\u0131n\u0131 d\u00fc\u015f\u00fcnd\u00fcm. Sergiyi benim i\u00e7in ilgi \u00e7ekici k\u0131lan da tam olarak bu oldu: Her eserin ne anlatt\u0131\u011f\u0131n\u0131 \u00e7\u00f6zmeye \u00e7al\u0131\u015fmaktan ziyade, bende uyand\u0131rd\u0131\u011f\u0131 duygulara odaklanabilmek.<\/p>\n\n\n

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\"WhatsApp-Image-2026-10-12-at-11.08.53-768x1024-1<\/figure>\n<\/div>\n\n\n

Serginin en ki\u015fisel par\u00e7alar\u0131ndan biri ise sanat\u00e7\u0131n\u0131n babas\u0131n\u0131n yazd\u0131\u011f\u0131 mektubu bir bez par\u00e7as\u0131 \u00fczerine i\u015fleyerek olu\u015fturdu\u011fu eser. K\u00e2\u011f\u0131t \u00fczerinde kalabilecek bir metnin ipliklerle kuma\u015fa aktar\u0131lmas\u0131, hat\u0131ran\u0131n korunmas\u0131na y\u00f6nelik olduk\u00e7a anlaml\u0131 bir jest. Burada yaz\u0131 yaln\u0131zca okunacak bir metin olmaktan \u00e7\u0131k\u0131yor; dokunulabilen, saklanabilen ve zamanla ba\u015fka bir bi\u00e7ime d\u00f6n\u00fc\u015febilen bir hat\u0131raya d\u00f6n\u00fc\u015f\u00fcyor. Babas\u0131ndan kalan s\u00f6zleri sanat\u0131n\u0131n bir par\u00e7as\u0131 h\u00e2line getirmesi, serginin duygusal merkezini de olu\u015fturuyor.<\/p>\n\n\n\n

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\u201cKorunakl\u0131 ama de\u011fil… Da\u011f\u0131labilir ama tutunur… \u0130z b\u0131rak\u0131r…\u201d<\/strong><\/em><\/p>\n<\/blockquote>\n\n\n\n

Sergi bro\u015f\u00fcr\u00fcnde yer alan bu s\u00f6zler, serginin genel hissini benim i\u00e7in olduk\u00e7a iyi \u00f6zetliyor. Haf\u0131za da t\u0131pk\u0131 eserlerdeki iplikler gibi bazen \u00e7\u00f6z\u00fcl\u00fcyor, bazen birbirine dolan\u0131yor ama tamamen kaybolmuyor. Canan Sava\u015f\u2019\u0131n \u00c7akal D\u00fc\u011f\u00fcn\u00fc ile anlatmak istedi\u011fi \u015feyin yaln\u0131zca babas\u0131na duydu\u011fu \u00f6zlem de\u011fil, ayn\u0131 zamanda hik\u00e2yelerin ve k\u00fclt\u00fcrel belle\u011fin nas\u0131l ya\u015fad\u0131\u011f\u0131 oldu\u011funu d\u00fc\u015f\u00fcn\u00fcyorum. \u00c7\u00fcnk\u00fc bazen bir hik\u00e2yeyi ya\u015fatan \u015fey, onun eksiksiz hat\u0131rlanmas\u0131 de\u011fil, bir ba\u015fkas\u0131na anlat\u0131lmaya devam edilmesi.<\/p>\n\n\n

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\"WhatsApp-Image-2026-10-12-at-11.07.32-3-edited-1024x633<\/figure>\n<\/div>\n\n\n
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\u201cYanabilir ama kokusu kal\u0131r… Sonu\u00e7ta hik\u00e2yesi kal\u0131r.\u201d<\/em><\/strong> <\/p>\n<\/blockquote>\n\n\n\n

Sergiden ayr\u0131l\u0131rken akl\u0131mda kalan, eserlerin g\u00f6rsel etkisinden \u00e7ok, bir hat\u0131ran\u0131n sanat arac\u0131l\u0131\u011f\u0131yla nas\u0131l yeniden var olabildi\u011fiydi. \u00c7akal D\u00fc\u011f\u00fcn\u00fc, ki\u015fisel bir kayb\u0131 ve \u00f6zlemi herkesin kendinden bir \u015fey bulabilece\u011fi bir anlat\u0131ya d\u00f6n\u00fc\u015ft\u00fcr\u00fcyor. Benim i\u00e7in hem malzeme kullan\u0131m\u0131 hem de ta\u015f\u0131d\u0131\u011f\u0131 hik\u00e2ye bak\u0131m\u0131ndan olduk\u00e7a etkileyici bir sergi oldu. Bazen bir sanat eserinin bizi etkilemesi i\u00e7in her \u015feyi a\u00e7\u0131k\u00e7a anlatmas\u0131na gerek olmad\u0131\u011f\u0131n\u0131; kimi zaman sisin arkas\u0131nda kalan bir hik\u00e2yenin, en net g\u00f6r\u00fcnt\u00fcden daha kal\u0131c\u0131 olabilece\u011fini bir kez daha hat\u0131rlatt\u0131. <\/p>\n\n\n\n

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The Jackal Wedding: Stories Hidden in the Mist<\/h2>\n\n\n\n

In some exhibitions, it is not so much the artworks themselves but the stories hidden behind them that stay with me. Canan Sava\u015f\u2019s solo exhibition The Jackal Wedding<\/em> at Muse Contemporary was one such experience for me. Dedicated to the artist\u2019s father, the exhibition may initially appear to revolve around abstract forms, threads, and different textures, yet at its heart lies a deeply personal story: memory, family bonds, and the recollections passed down from one generation to another.<\/p>\n\n\n\n

The exhibition takes its name from an expression used in the village of Arsovos, located in the \u00c7ayeli district of the Black Sea province of Rize, to describe a particular natural phenomenon: rain falling while the sun is shining and mist descending over the forest. A story the artist heard from her father during childhood resurfaced years later through the \u201cFox Wedding\u201d scene in Akira Kurosawa\u2019s film Dreams<\/em>. The fact that similar natural phenomena are described through similar stories in two geographically distant cultures forms the starting point of the exhibition. What I find most beautiful about this connection is how a small childhood memory can gradually evolve into a narrative that builds bridges between different cultures.<\/p>\n\n\n\n

Born in Istanbul, Canan Sava\u015f studied at the workshops of H\u00fcsamettin Ko\u00e7an and Ergin \u0130nan at Marmara University’s Faculty of Fine Arts. She later continued working in painting, glass, and printmaking at Tayfun Erdo\u011fmu\u015f’s workshop. Following her graduation, the artist lived in San Francisco between 1999 and 2007, participating in various exhibitions and art events. After returning to Istanbul, she also worked as an art writer. Her relationship with different materials is particularly evident in The Jackal Wedding<\/em>. Wood, thread, and layered surfaces appear not merely as formal elements, but as materials that carry and transform personal experiences.<\/p>\n\n\n

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\"WhatsApp-Image-2026-10-12-at-11.10.57-1-571x1024<\/figure>\n<\/div>\n\n\n

One of the aspects that impressed me most about the exhibition was its ability to convey a personal story despite the abstract nature of the artworks. In some pieces, threads randomly intertwined with one another evoke images disappearing into the mist and the uncertainty of memory. In others, distinct horizontal and diagonal lines create a more controlled and deliberate composition. As I moved among these textured surfaces, where black, white, and red stand out, I felt that the artist was not trying to depict memories directly, but rather to make the traces they leave behind visible. This was precisely what made the exhibition so engaging for me: instead of trying to decipher the meaning of every artwork, I was able to focus on the emotions they evoked within me.<\/p>\n\n\n\n

One of the most personal works in the exhibition is a piece created by embroidering a letter written by the artist’s father onto a piece of fabric. Transferring a text that could have remained on paper onto fabric through threads is a deeply meaningful gesture towards preserving a memory. Here, writing ceases to be merely a text to be read; it becomes a memory that can be touched, preserved, and gradually transformed into something else. By making her father’s words part of her artistic practice, Sava\u015f also establishes the emotional heart of the exhibition.<\/p>\n\n\n\n

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\u201cProtective, but not entirely… It may come apart, yet it holds on… It leaves a trace…\u201d<\/em><\/strong><\/p>\n<\/blockquote>\n\n\n\n

These words, featured in the exhibition brochure, capture its overall atmosphere quite well for me. Just like the threads in the artworks, memories sometimes unravel and sometimes become intertwined, but they never disappear completely. I believe that what Canan Sava\u015f seeks to express through The Jackal Wedding<\/em> is not simply her longing for her father, but also the way stories and cultural memory continue to exist. After all, sometimes what keeps a story alive is not remembering it perfectly, but continuing to tell it to someone else.<\/p>\n\n\n\n

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\u201cIt may burn, but its scent remains… In the end, what remains is its story.\u201d<\/em><\/strong><\/p>\n<\/blockquote>\n\n\n\n

As I left the exhibition, what stayed with me was not so much the visual impact of the artworks, but the way a memory could be brought back to life through art. The Jackal Wedding<\/em> transforms a deeply personal experience of loss and longing into a narrative in which everyone can find something of themselves. For me, it was a particularly moving exhibition, both in terms of its use of materials and the story it carries. It reminded me once again that an artwork does not need to reveal everything explicitly to move us; sometimes, a story hidden behind the mist can leave a more lasting impression than the clearest image. <\/p>\n\n\n\n