Sere Sahinlar On the one hand, Muzaffar Akiol, with his paintings which eats up the ancient tradition and creates their own myths in his half-century of artistic adventures; Gay Sue Achiol, on the other hand, expresses an entirely new language inspired by its roots, with its woolen woven carpets and ceramic sculptures, which, like its music. Combining the brand new work of father and daughter, the exhibition “Disobedient Roots-Immortal Tree Resists” at Ackfen Holding’s art platform Loft Art establishes a fantastic world fed by the same river driven by past and myth. Both are behind the truth. The exhibition is like a branch of a river of life that sprouts from the same source. We heard this conversation, which seems to be different from each other, but the parents hold each other in a biological bond …
We’ve been wanting to see you together for a long time. How did the adventure of “Preventing Disobedient Roots-Immortal Trees” begin?
Gaye Su Akyol: We can say that this exhibition is a manifestation of the situation we have been living in for the last few years, as well as a strange time on a world scale. It’s so beautiful that there are two different roots and stories that biologically touch and speak to each other in the same area. I wanted to assess our interest and respect for the common language in various stories and in its own integrity of meaning. I came up with the idea of a hand-woven, woolen carpet that has survived throughout history and started with the idea of telling it through my own fantastic story. I wanted to combine that fantastic world with traditional art. Behind it are the names of the women possessing that ancient knowledge. It’s also a great idea to have a women’s joint.
There is a brand new language and a search for a world that is directly related to the ancients but nurtured by it. We have witnessed the process for generations, but the river arm is always united …
Muzaffar Akiol: In the exhibition, we share with the audience what the two artistic personalities have created based on a unique perception. When we look at the works one by one, we see that they have a fresh Anatolian scent. Wherever we go in the world, we encounter the expression that these works were created by an Anatolian artist. Because here is the ancient experience. Anatolian culture has its own motifs, colors and discourses. We wanted to be an interpreter of these emotions in color and shape without distorting the present, but incorporating a new understanding into it and synthesizing one. Each leak has a message; They are longing, love, waiting, hope and love.
Our endless story …
Mozaffar Akol: Our journey is an industrial journey. Industry is the largest ocean in the world without a name. In this sea the artist sails in his own boat. And their shovels are not like that. It is as beautiful and fragile as a matchstick. As a person carrying the responsibility and importance of the industry; As artists of this country, we have taken this responsibility very seriously. So we create art. We send our message to the human family. There is also communication with each other in the exhibition.
Gay Su Akiol: There is a narrative between ages, generations and cultures. There are some works that have turned their backs on social issues and do not look at the political, economic and sociological issues of their age. This is one of the reasons why it is timeless. In addition to witnessing the times in which we live, we also see the suffering that has been going on for centuries. In addition to the pain from the past to the present, there are also problems of the last few years, such as coronavirus. You can read both the joys and sorrows brought by geography and what happened in a few years. Of course, the genocide against women, which has come to the fore in 10 years; My writings also reflect the atrocities and horrific murders that have taken place on the body, millions of women and people who feel helpless. You can see it by looking at the job title. Anyone with real sensitivity is struggling; Me and my dad are here with our instruments, words and work.
You are also a student of Bedri Rahmi Iubolu. We also get a taste of his Anatolian inspiration in these paintings … How do you feed these ancient traditions that give some of your work their name?
Muzaffar Akiol: The advantage of living in a geography where there were thousands of years of civilization. On one condition: just be aware. Its roots, to understand what the ancient tradition is; Direct yourself to see what it looks like. It’s like looking at yourself in the mirror of experience. So singing Su. With its own roots; He is doing new things with the flour of Anatolian satire. The artist is a witness to his age, he is in charge and against the status quo. The artist must first see and evaluate the people around him and then what is going on in the universe. We have responsibly touched on this land experience. We produced to keep the experience for tomorrow. We continue on our way with an honest and ethical understanding without compromising our industry on board.
All works in the exhibition consist of works produced between 2020-2022. The epidemic period must have been very fruitful for you. How did these three years go?
Muzaffar Akiol: I fled to Bodrum for protection so as not to fall victim to the epidemic of aristocracy. I had a workshop there. I am free from the crowd. I knew survival would be a good thing and I would have to create something if I survived. With this belief and understanding, I saw myself in the mirror of the past in the workshop I went to for protection. I realized what I was facing. The language of painting, I have explained what I came across with imagery. For example, I have seen how the panic called Corona has destroyed the human family and I have reflected this in my paintings. Olive trees that have existed for thousands of years but have been destroyed …
‘I used to paint with my father’s color’
You were born into art and painting. You are the daughter of a versatile painter like Muzaffar Akil. Of course, your own perception of art is built around another discourse and form, but how did these roots nurture your life and your art?
Gay Su Akiol: I thought for a long time, everyone’s father comes home late and everyone has a workshop. When a friend of mine in elementary school said, “My dad will come at 7 o’clock,” I realized that was not the case. In fact, I realized the impact of my dad’s absence in my 30’s. I didn’t have a father, but he did. He always existed with his work, his created personality and his shadow. When I was bored at home, I used to draw on cardboard with my father’s colors. Of course, I will never forget the opening of my father’s exhibition and my conversation with his friend. After I graduated in 5th grade, my dad said, “Come on, I’m going to introduce you to someone very important.” I met Kuzgunku in Kan Usel. He asked me a few questions, caressed me and caressed me. Those memories are always in my head. There were many names, of course; Abani Arbas, Yusuf Katipoglu. Tansel Cartridge was my mentor. He has always done the right thing at the right time for me.
Muzaffar Akiol: Journalists were also present at the show where Gay was young and playing games. I have been teaching year after year, raising students. I am a good observer and I know child psychology well. Gay was a very interesting character, his perception was very high, he could study something that he saw very well and immediately memorized what he heard. He draws endlessly.