Sculptor Tansu Kırcı, who defines the art of sculpture as the best expression of her consciousness, says that natural stone is the best representation of amorphous surfaces. The artist, who makes the choice of natural stone over the form of the stone, spends most of the project process with the observation of the material. The city, geography, and society in which he lives have an important place in his art. He defines the awareness process as practical and emphasizes that people should be the agents of their actions.
How did your interest in sculpture begin? Can you tell us about your story?
TK: I noticed my interest and talent in the art of sculpture interestingly and coincidentally which was initiated by drawing a book cover of master poet and writer Nazım Hikmet in 2014. Although I had a few attempts in the field of literature before, we can say that my connection with the visual arts first started with Nazım Hikmet Ran.
How is the design process of your works developing? What are the concepts you are inspired by?
TK: In the design process, my consciousness is my biggest inspiration. Remembering that one is the agent of one’s actions makes self-consciousness possible. In this context, another of the concepts that I have been questioning is the concept of memory. Being oneself is a process and is not static but active and practical. In this process, which is built from scratch, people lead a life intending to be themselves. In addition to these concepts, the geography, city, and society I live in are also important dynamics of the process.
How did your relationship with natural stone begin in your artistic life? What is your perspective on this material as a sculptor?
TK: The material is extremely important as it is the artist’s way of creating himself and his art. I aim to emphasize the process by leaving some of the forms I have dealt with amorphous. In the art process, I have experienced that the material is the best expression of this idea, and the amorphous surface in its context is natural stone.
We see that especially the use of marble stands out in your works. What would you say about the character and potential of this material?
TK: Sculpture is a form of language, a technique that I think I can express my consciousness in the most ideal way. Marble, on the other hand, is one of the most classical art materials that many societies have expressed themselves through since prehistoric times. I have experienced many materials in my artworks, but although it has not become a norm, I think that the material that integrates with meaning, especially in my recent works, is marble.
Are there different natural stone materials that you enjoy working with? What resources do you use for natural stone?
TK: When choosing the natural stone I will work with, I only connect with its form. Therefore, the type of natural stone is not a primary factor in the selection of the material I will work with. I select the waste stones from the marble quarries. But most of the time, I evaluate the marbles found in the workshop of the university where I continue my graduate education. I have been observing the natural stones I will be working with for a long time, and in fact, I can say that most of the project took place in this observation and thinking phase.
What kind of changes does the differentiation of the material cause in the production process?
TK: Material is an important part of the artist’s artistic creation. I think that the difference in the material does not have any negative effect on the production process. Although the material varies, the spirit and consciousness that are inherent in the material are still the same. It will. The subject is always the artist, but the material may vary in theme and context.
What would you say about your current work that you are currently working on?
TK: In my recent works, I have been in search of the self through memory. What defines oneself is to remember that it is oneself as the agent of the action. Meanwhile, remembering will lead us to the concept of memory. Memory, in its broadest sense, is the trace of the past in history. We can encounter these traces in many historical elements. I am actively searching for the past, just like an archaeologist. The expression of these pursuits is formed through architectural elements in marble.
As a sculptor working with natural stone, from which regions of our country do you prefer to work with stone?
TK: When I consider the concepts I have dealt with and the forms I want to bring into being, I am primarily interested in the form of the natural stone I use rather than a certain stone of a certain region. Because the form of the stone is an important point in determining the art object to be formed. The form comes to form in my mind while observing the stone. All I have to do is just throw out the excess.
Did you have any difficulties supplying resources during the production phase? If so, what would you like to say about it?
TK: Natural stone is a very challenging material to obtain in the current market, especially for students. Even if it is supplied, it can be difficult to transport due to its weight. I believe that it would be very nice for the marble quarries to share the waste stones, especially with universities and students, as a result of mutual consultation. Of course, students should be demanding in this regard.
