Ebru Akıncı, a sculptor who completed her education in sculpture at Mimar Sinan Fine Arts University, has dedicated herself to working with natural stone. In 2012, she moved to Carrara, Italy, to refine her expertise in stone sculpture techniques and immerse herself more deeply in the art of working with stone. She returned to Istanbul in 2013, where she continues her practice. In her artistic creations, she works predominantly with natural stone, a material she believes personalizes and imbues her pieces with a distinct identity. Having participated in numerous national and international exhibitions, art events, and symposiums across several countries since her university years, she has also designed sculptures for large-scale public spaces. We had the opportunity to speak with Ebru Akıncı about her creative process, her meticulous handling of marble, and the sources of inspiration she derives from the stone itself.
How did your interest in design and art develop?
My interest in art began at an early age, particularly in painting. However, during my university years, I was more inclined towards the social sciences, with art taking a secondary role in my life at that time. While studying at the Department of History at Ankara Hacettepe University, I was encouraged by friends from the sculpture department to take drawing classes. This led me to participate in the special talent exam, where I was accepted into the sculpture department. As a result, I made the decision to transfer from the history department. I continued my studies in stone sculpture at the Sculpture Department of Mimar Sinan University in Istanbul, where I completed my undergraduate education. Later, I further honed my craft by studying stone sculpture at the prestigious Carrara Academy of Fine Arts in Italy.
What significance does sculpture hold in your creative process?
Sculpture is at the heart of my artistic practice. Everything else orbits around it, nourishes it, and serves as a wellspring of inspiration.
How does the concept and design process for your creations unfold?
In general, a concept born from a feeling, situation, phenomenon, or event that resonates with me—whether from nature, mythology, or philosophy—takes shape in my mind according to my inner world. Often starting with small sketches, but more frequently through the use of clay, the idea gradually becomes clearer and eventually reaches its final form. I then create a mold with the help of plaster or another similar intermediary material, crafting a model from it. Finally, I select the stone with the appropriate dimensions and qualities for the design and begin the process of transferring the form to it.
As a sculptor working with natural stone, what led you to choose this material? What can you tell us about your perspective on natural stone?
Stone is indispensable to me; I am drawn to its durability, yet, despite its robust, massive, and heavy perception, I am equally fascinated by the sensitivity, fragility, and softness inherent in its essence. Stone plays a pivotal role in my works, supporting both the formal qualities and the subject matter, imbuing each piece with its unique identity. With its curves, textures, and colors, stone carries the life story of the earth’s crust, and marble, in particular, contributes its own narrative to the creative process, adding a distinct layer of adventure and depth to the work.
Which natural stones do you use in your sculptures? Do you have preferred quarries?
The Anatolian stones I predominantly work with are Muğla, Afyon, and Marmara marbles. I don’t have a specific quarry that I favor over others, as each stone has its own unique characteristics that inspire different aspects of my work.
As an artist, what do you find and not find in stone as a material?
It is generally a material well-suited for creating large, solid forms, but it becomes fragile and more sensitive when applied to finer details. If your design requires intricate features, it demands patience, careful attention, and precision—working in harmony with the stone, listening to its nuances as you shape it.
In your meticulously crafted designs like “Wind,” “Seeds,” and “Lethe,” how do you convey the connection between the material and the concept?
In my works, the unity, interaction, or tension between opposing principles in nature manifests through a dynamic composition of contrasting forms and textures. These forms, which represent the fundamental principle of structure, exist in a state of dynamic balance. The massive outer shapes define the sculpture’s connection with the environment, while the textures and internal forms reveal the sculpture’s inner mood. The interplay between solid, geometric elements and the organic, soft, and fluid textures captures this dialogue, highlighting the paradox of stone: its fragility, softness, and sensitivity in contrast to its massive, heavy, and hard exterior. Thus, natural stone adds its own unique quality to the works, contributing not only as a material but as an active participant in the expression of these dualities.
Can you tell us about your current projects?
I draw inspiration from the rich traditions of Eastern philosophy and practices, allowing new ideas and forms to emerge. The process of these forms blossoming in my mind is nourished through reading, writing, drawing, research, and a deep connection to our planet and its breathtaking nature. These sources are the primary wellsprings from which my creative energy flows, constantly fueling the evolution of my work.
Helicoid
Aquatic
Equinox
Eternal Harmony
Chrysalis
