Demet Kaya Güngörür, who gives identity to her works by using Turkey’s natural stones, draws inspiration in her boundary-pushing pieces from fundamental concepts such as humanity, the human position concerning nature, and gender inequalities. Since the early days of her professional life, the artist has had a particular interest in natural stone, especially marble. We discussed her relationship with the material, sources of inspiration, and her current works.
What is the story behind your turn to sculpture?
My interest in sculpture dates back to my high school years. During a project, I visited the Istanbul Archaeology Museum and was deeply moved by the sculptures there, especially the statue of Marsyas. The way such a hard material could convey such a profoundly human feeling so realistically to the viewer inspired great admiration in me. I think I made my decision in the 10th grade.
– What concepts inspire your works? How would you describe your relationship with the material?
The most important concept that inspires my works is the human being. The process of concretizing human fragility in the face of nature using a hard material has always fascinated me. Challenging the limits of the material, struggling with it, is like trying to shift the balance of strength and weakness against nature. I see it as a kind of battle with oneself. Sometimes the material challenges you, sometimes you challenge it. The creative process of the artwork is about establishing this balance.
– We see that you predominantly prefer marble in your works. Why marble?
The biggest reason I prefer to work with marble is precisely this: the difficulty of the material. I like the feeling of struggling with something difficult.
What do you think are the advantages and disadvantages of working with marble?
The advantage of working with marble, in my opinion, is its durability against natural conditions over many years. Also, Mother Nature offers many colors like a painter’s palette; marble’s natural structure, texture, and color provide many options. As for disadvantages, marble is not a material that tolerates mistakes well. Unlike other primary materials like clay, where you can add and multiply, marble is a subtractive medium — you work by removing, which makes it challenging. You need to know the stone very well. Often, you don’t know what to expect inside a block. Sculptors are, in a way, hunters of chance.
Which regional marbles do you prefer?
Turkey has a very rich variety of marble. I mostly prefer Afyon marble because of its hardness and color, making it my favorite for my work. Besides that, I also work with Kemalpaşa marble, onyx, and Marmara marble.
Do you work with any natural stones besides marble?
Yes, I also work with other natural stones. The one I prefer most is serpentine. Its texture and, especially, its color are the main reasons for my preference.
What can you tell us about your current projects?
My recent works mainly feature genderless figures striving to complete their existence. While we know the inequalities between men and women in society — especially women being marginalized and subjected to many injustices such as violence — my works emphasize that men and women are inseparable wholes in nature, neither less nor more than the other. The quest for equality for both genders is a prominent feeling in my current work. Therefore, my sculptures are genderless, incomplete figures awaiting completion.
