{"id":1285,"date":"2026-11-02T12:34:42","date_gmt":"2026-11-02T12:34:42","guid":{"rendered":"https:\/\/atolyer10.com\/?p=1285"},"modified":"2026-11-02T12:51:53","modified_gmt":"2026-11-02T12:51:53","slug":"baslangic-noktasi-bosluk-y-bahadir-yildiz-eart-galeri","status":"publish","type":"post","link":"https:\/\/atolyer10.com\/?p=1285","title":{"rendered":"Ba\u015flang\u0131\u00e7 Noktas\u0131: Bo\u015fluk \u2014 Y. Bahad\u0131r Y\u0131ld\u0131z | EArt Galeri"},"content":{"rendered":"
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\"WhatsApp-Image-2026-10-12-at-12.08.42-1-768x1024-1<\/figure>\n<\/div>\n\n\n

Baz\u0131 sergilerde eserleri anlamaya \u00e7al\u0131\u015f\u0131rken kendimi, sanat\u00e7\u0131n\u0131n ne anlatmak istedi\u011finden \u00e7ok, eserlerin bende ne uyand\u0131rd\u0131\u011f\u0131na odaklan\u0131rken buluyorum. Y. Bahad\u0131r Y\u0131ld\u0131z\u2019\u0131n EArt Galeri\u2019deki Ba\u015flang\u0131\u00e7 Noktas\u0131: Bo\u015fluk<\/em> sergisi de benim i\u00e7in b\u00f6yle bir deneyimdi. \u0130lk bak\u0131\u015fta insan\u0131, hayvan\u0131 ya da organik bir olu\u015fumu \u00e7a\u011fr\u0131\u015ft\u0131ran heykeller, yakla\u015ft\u0131k\u00e7a tan\u0131d\u0131k bi\u00e7imlerden uzakla\u015f\u0131yor. K\u0131vr\u0131lan, uzayan ve kendi \u00fczerine katlanan formlar, sanki tamamlanm\u0131\u015f bir beden olmaktan \u00e7ok, olu\u015fmaya devam eden canl\u0131 yap\u0131lar gibi g\u00f6r\u00fcn\u00fcyor.<\/p>\n\n\n\n

1976 y\u0131l\u0131nda Eski\u015fehir\u2019de do\u011fan Y. Bahad\u0131r Y\u0131ld\u0131z, Ege \u00dcniversitesi Matbaac\u0131l\u0131k ve Bak\u00fc Devlet \u00dcniversitesi Siyasal Bilimler e\u011fitimlerinin ard\u0131ndan 2003 y\u0131l\u0131nda Akdeniz \u00dcniversitesi Heykel B\u00f6l\u00fcm\u00fc\u2019nden mezun olmu\u015f. Sanat\u00e7\u0131n\u0131n \u00fcretiminde do\u011fal ve end\u00fcstriyel malzemelerle kurdu\u011fu ili\u015fki \u00f6nemli bir yer tutuyor. K\u00fcrat\u00f6rl\u00fc\u011f\u00fcn\u00fc Dilara G\u00fcven\u2019in \u00fcstlendi\u011fi bu sergide de heykellerin yan\u0131 s\u0131ra k\u00f6k boya resimler ve sanat\u00e7\u0131n\u0131n ilk kez kulland\u0131\u011f\u0131 PVC ile \u00fcretti\u011fi \u00e7al\u0131\u015fmalar yer al\u0131yor. Ancak benim en \u00e7ok ilgimi \u00e7eken, malzemelerin yaln\u0131zca birer ara\u00e7 olarak kullan\u0131lmamas\u0131; aksine eserin anlam\u0131n\u0131 do\u011frudan \u015fekillendirmeleri oldu.<\/p>\n\n\n

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\u00d6zellikle z\u0131mpara k\u00e2\u011f\u0131d\u0131ndan olu\u015fturulan heykellerdeki katmanl\u0131 ve p\u00fcr\u00fczl\u00fc y\u00fczeyler, bi\u00e7imlere hem koruyucu hem de rahats\u0131z edici bir karakter kazand\u0131r\u0131yor. Z\u0131mpara, do\u011fas\u0131 gere\u011fi a\u015f\u0131nd\u0131ran bir malzeme. Buna ra\u011fmen Y\u0131ld\u0131z\u2019\u0131n heykellerinde \u00fcst \u00fcste sar\u0131larak b\u00fcy\u00fcyen bir kabu\u011fa d\u00f6n\u00fc\u015f\u00fcyor. Burada bana ilgin\u00e7 gelen, korunma ihtiyac\u0131n\u0131n ayn\u0131 zamanda bir temas meselesine d\u00f6n\u00fc\u015fmesi: Kendimizi d\u0131\u015f d\u00fcnyadan korumak i\u00e7in olu\u015fturdu\u011fumuz s\u0131n\u0131rlar, bazen d\u0131\u015far\u0131yla ili\u015fki kurmam\u0131z\u0131 da zorla\u015ft\u0131rabiliyor.<\/p>\n\n\n

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\u201cBir kabuk gibi koruyan, ama ayn\u0131 zamanda s\u00fcrt\u00fcnme ve rahats\u0131zl\u0131k yaratan bir y\u00fczey\u2026\u201d<\/em><\/strong><\/p>\n<\/blockquote>\n\n\n\n

Serginin d\u00fc\u015f\u00fcnsel d\u00fcnyas\u0131n\u0131 benim i\u00e7in \u00f6zetleyen bu kar\u015f\u0131tl\u0131k, PVC kullan\u0131lan eserlerde daha da g\u00f6r\u00fcn\u00fcr h\u00e2le geliyor. Z\u0131mparan\u0131n sert, a\u015f\u0131nd\u0131r\u0131c\u0131 ve katmanl\u0131 dokusunun kar\u015f\u0131s\u0131nda PVC\u2019nin esnekli\u011fi ve kayganl\u0131\u011f\u0131 yer al\u0131yor. \u0130ki malzeme aras\u0131ndaki bu tezatl\u0131k, heykellerin bi\u00e7imlerinde de hissediliyor. Bir yanda kendini kapatan, s\u0131n\u0131r olu\u015fturan yap\u0131lar; di\u011fer yanda k\u0131vr\u0131larak uzayan ve y\u00f6n de\u011fi\u015ftiren formlar var. Bu kar\u015f\u0131tl\u0131k bana bedenin hem korunmaya hem de hareket etmeye duydu\u011fu ihtiyac\u0131 d\u00fc\u015f\u00fcnd\u00fcrd\u00fc.<\/p>\n\n\n

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\"WhatsApp-Image-2026-10-12-at-12.08.43-1-1024x768<\/figure>\n<\/div>\n\n\n

Serginin ad\u0131ndaki bo\u015fluk<\/em> ise yaln\u0131zca heykellerin i\u00e7indeki a\u00e7\u0131kl\u0131klardan ibaret de\u011fil. Sanat\u00e7\u0131n\u0131n yakla\u015f\u0131m\u0131nda bo\u015fluk, bi\u00e7imin \u00e7evresinde olu\u015ftu\u011fu ve ona y\u00f6n verdi\u011fi bir ba\u015flang\u0131\u00e7 noktas\u0131. Heykellerin a\u011f\u0131z benzeri a\u00e7\u0131kl\u0131klar\u0131, i\u00e7 i\u00e7e ge\u00e7en katmanlar\u0131 ve mek\u00e2na do\u011fru uzanan par\u00e7alar\u0131, onlar\u0131 tek bir anatomiyle tan\u0131mlamay\u0131 zorla\u015ft\u0131r\u0131yor. Bazen bir organ\u0131, bazen bir kabu\u011fu, bazen de hen\u00fcz adland\u0131ramad\u0131\u011f\u0131m bir canl\u0131y\u0131 \u00e7a\u011fr\u0131\u015ft\u0131r\u0131yorlar. Bu belirsizlik, eserleri anlamland\u0131rmak yerine onlarla ili\u015fki kurmam\u0131 sa\u011flad\u0131.<\/p>\n\n\n\n

Ba\u015flang\u0131\u00e7 Noktas\u0131: Bo\u015fluk<\/em> sergisinden ayr\u0131l\u0131rken akl\u0131mda kalan, bi\u00e7imlerin neye benzedi\u011finden \u00e7ok, nas\u0131l olu\u015ftu\u011fu ve kendilerini nas\u0131l korudu\u011fu sorusuydu. Y\u0131ld\u0131z\u2019\u0131n heykelleri bana s\u0131n\u0131rlar\u0131n her zaman sabit olmad\u0131\u011f\u0131n\u0131; bazen k\u0131vr\u0131larak, bazen a\u015f\u0131narak, bazen de yeni bir y\u00fczey olu\u015fturarak de\u011fi\u015febildi\u011fini hat\u0131rlatt\u0131. San\u0131r\u0131m sergiyi benim i\u00e7in ilgi \u00e7ekici k\u0131lan da tam olarak buydu: Bo\u015flu\u011fun bir eksiklik de\u011fil, yeni bir olu\u015fumun ba\u015flang\u0131c\u0131 olabilece\u011fini g\u00f6stermek.<\/strong><\/p>\n\n\n\n

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Point of Departure: Emptiness \u2014 Y. Bahad\u0131r Y\u0131ld\u0131z | EArt Gallery<\/h2>\n\n\n\n

When trying to understand artworks in an exhibition, I sometimes find myself focusing less on what the artist intends to communicate and more on what the works evoke within me. Y. Bahad\u0131r Y\u0131ld\u0131z\u2019s exhibition Point of Departure: Emptiness<\/em> at EArt Gallery was one such experience for me. At first glance, the sculptures evoke images of humans, animals, or organic formations. However, as you approach them, they gradually move away from familiar shapes. Their twisting, stretching, and folding forms seem less like completed bodies and more like living structures that are still in the process of taking shape.<\/p>\n\n\n\n

Born in Eski\u015fehir in 1976, Y. Bahad\u0131r Y\u0131ld\u0131z studied Printing at Ege University and Political Science at Baku State University before graduating from Akdeniz University’s Department of Sculpture in 2003. His relationship with both natural and industrial materials plays an important role in his artistic practice. Curated by Dilara G\u00fcven, this exhibition features not only sculptures but also natural-dye paintings and works made using PVC, a material the artist has incorporated into his practice for the first time. What interested me most, however, was the fact that the materials were not simply used as tools; instead, they directly shaped the meaning of the artworks.<\/p>\n\n\n\n

The layered and rough surfaces of the sculptures made from sandpaper, in particular, give the forms both a protective and an unsettling character. By nature, sandpaper is an abrasive material. Yet in Y\u0131ld\u0131z’s sculptures, it is wrapped around itself, gradually transforming into a growing shell. What I found particularly interesting here was how the need for protection also becomes a question of contact: the boundaries we create to protect ourselves from the outside world can sometimes make it more difficult for us to connect with it.<\/p>\n\n\n

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\u201cA surface that protects like a shell, yet simultaneously creates friction and discomfort\u2026\u201d<\/em><\/strong><\/p>\n<\/blockquote>\n\n\n\n

This contrast, which I believe summarizes the intellectual framework of the exhibition, becomes even more apparent in the works made with PVC. Opposing the hard, abrasive, and layered texture of sandpaper is the flexibility and smoothness of PVC. This contrast between the two materials can also be felt in the forms of the sculptures. On one side are structures that close themselves off and create boundaries; on the other are forms that twist, extend, and change direction. This contrast made me think about the body’s need for both protection and movement.<\/p>\n\n\n\n

The emptiness<\/em> in the exhibition’s title is not limited to the openings within the sculptures. In the artist’s approach, emptiness serves as a starting point around which form develops and through which it finds direction. The mouth-like openings, overlapping layers, and extensions reaching into the surrounding space make it difficult to define these sculptures through a single anatomy. At times, they remind me of an organ, sometimes a shell, and sometimes a living creature that I cannot yet name. This ambiguity encouraged me to establish a connection with the artworks rather than simply trying to interpret them.<\/p>\n\n\n\n

As I left the Point of Departure: Emptiness<\/em> exhibition, what remained in my mind was not so much what the forms resembled, but rather how they came into being and how they protected themselves. Y\u0131ld\u0131z’s sculptures reminded me that boundaries are not always fixed; they can change by twisting, wearing away, or forming entirely new surfaces. I believe this is precisely what made the exhibition so compelling to me: its ability to demonstrate that emptiness does not necessarily represent an absence, but can instead become the starting point of a new formation.<\/strong><\/p>\n\n\n\n