We spoke with the sculptor Tansu Kırcı about “The Memory of Stone,” his current exhibition at Haliç Sanat 1, where stone emerges not merely as a material but as a bearer of memory, identity, and place. Drawing from the historical layers of the geography he inhabits and working primarily with waste marble, the artist reflects on how material, process, and human existence intersect—revealing stone as a silent witness to both collective history and personal transformation.
How did your interest in sculpture emerge? Could you please tell us about the beginning of this journey?
My interest in sculpture began through a series of coincidences. In 2014, while reading Nazım Hikmet’s biography, I sketched the photograph on the book cover onto a small piece of paper and, in that moment, discovered a talent I had not been aware of. The sense of surprise and curiosity I felt led me to look more closely at drawing and art in general. Over time, experimenting with different techniques, building relationships with materials, and searching for new ways of self-expression became a natural process for me. When I reached my university years, I chose to pursue this interest through formal education in the sculpture department. Sculpture’s strong relationship with volume, form, and space, its ability to transform thoughts into tangible forms, and the unique rhythm of its process deeply influenced me. Looking back today, although it may seem like a chain of coincidences, I see that all of these moments ultimately guided me toward my own path.
How does your creative process unfold when designing your works? What are the main concepts that inspire you?
I draw direct inspiration from the historical processes of this geography, as these lands are a fundamental dynamic shaping both me and the society I live in. For this reason, I make a conscious effort to research, learn, and understand its past; as a part of this geography, the way for me to understand myself passes through understanding it. Whenever possible, I travel through these regions, experience them firsthand, and document them through photography, strengthening the foundations of my intellectual process through on-site observation. My artistic production grows out of this conceptual ground, and the waste stones I use play a decisive role in the emergence of form. Within the possibilities offered by the stone’s hardness, texture, and veins, the form that takes shape in my mind gradually becomes visible, allowing both my bond with the geography and my relationship with the material to be reflected in my works.
How did your relationship with natural stone begin in your artistic practice? What perspective do you bring to this material as a sculptor?
I use waste stone in my works because every stone—whether discarded or natural—carries a memory shaped by historical processes. It is deeply moving to think that a stone I work on today may have been touched by someone hundreds or even thousands of years ago, and that they may have had an experience with it. My first encounter with stone took place during my undergraduate years, through the materials available in the workshop; at that time, stone was one of the most economically accessible options for me. Over time, however, my relationship with stone evolved into a much more conscious and aware one. The material ceased to be merely a means of production and became an element that carries meaning in itself—one that guides the process with its memory and presence.
We see that marble holds a particularly prominent place in your work. What would you like to say about its character and the possibilities it offers?
In my work, I generally prefer waste and amorphous stones. Their surfaces, with their natural irregularities, fragility, and unique textures, offer both aesthetic richness and a strong presence in the finished works. I deliberately bring these amorphous surfaces to the forefront because the sense of incompleteness they create adds a conceptual layer to my sculptures, offering the viewer not only a visual but also an intellectual experience. This incompleteness can metaphorically be associated with the human process of self-discovery; human beings do not begin life as complete and fully formed entities—becoming oneself is a journey, involving continuous exploration and transformation throughout life. The feeling of unfinishedness visible on the surfaces of these stones embodies this very process. Each fracture, crack, or irregular form symbolizes an individual’s journey of self-discovery, identity construction, and maturation. In this way, stone becomes not merely a material but a narrative tool that refers to the process itself. When encountering the works, the viewer senses both the natural memory of the stone and the ever-evolving nature of human existence. This approach allows me to bring together aesthetics and meaning, making visible on the stone’s surface both traces of the past and the inner journey of the human being, offering an experience where stone, process, and humanity intersect.
Are there specific types of natural stone you particularly enjoy working with? What sources do you rely on when sourcing stone?
When sourcing stone, I establish direct communication with marble quarries and personally visit them with my vehicle. For me, this process is not merely about material acquisition; it is an experience that deepens my relationship with stone. Since the stones I use are generally waste materials, they are relatively accessible and commercially overlooked, which provides me with a distinct sense of freedom. I can evaluate the stones I choose—their forms and textures—according to my own aesthetic understanding. Walking safely through the quarry, examining the stones’ sizes, dimensions, textures, and types, and selecting them through close observation becomes both a physical and mental exploration process. Each stone establishes its own unique dialogue with me, guiding the shaping of form in my mind. Additionally, working with stones of different types, tones, and textures, experimenting with them, and integrating them into my production process brings me great pleasure. In this way, the material moves beyond being a mere tool and becomes a fundamental element shaping the conceptual foundation of my works.
As an artist working with natural stone, from which regions of Türkiye do you prefer sourcing stone from?
I have previously produced works using stones that I personally selected by visiting quarries in Marmara Island, Bursa, and Afyon, as I believe that choosing materials by touching them, sensing their environment, and seeing them in their place is a crucial part of my process. Rather than prioritizing a specific geography, I focus on the stone’s form, color, texture, and the sense of history it conveys to me. The memory inherent in waste stones and the temporal traces they carry particularly deepen my relationship with the material. For this reason, establishing direct contact with the material by traveling through quarries and seeing stone not merely as an object but as an entity with its own story forms the foundation of my creative process. I enjoy working with stones that have unconventional tones, natural irregularities, and distinctive textures, as this diversity enriches my production both aesthetically and conceptually. Additionally, I aspire to work with Carrara marble, named after Italy’s Carrara region and frequently favored by Renaissance sculptors, beyond my own geography.
Do you encounter challenges in sourcing materials during your production process? If so, what are your thoughts on this?
Both during and after the production process, the material presents various challenges. The weight of stone, in particular, makes transportation physically demanding and financially burdensome. Moreover, it is not possible to work with stone in every type of studio environment; the high noise levels produced by the tools and the dust generated during production can be disturbing both for me and for the surroundings. Although I personally find this dust and sound to be an enjoyable part of the production process, their negative environmental impact cannot be ignored. For all these reasons, there is a clear need for a comprehensive studio and an appropriate location, which brings additional financial burdens inherent to the nature of the material. Furthermore, the transportation and safety of the artworks require great care; the fragile nature of both the material and the finished works necessitates careful planning and meticulous execution at every stage—from production to transportation and installation. When all these factors come together, it becomes evident that both the production process and the preservation of the works demand not only technical knowledge but also strong logistical planning and financial resource management.
In your exhibition “The Memory of Stone” at Haliç Sanat 1, you address the relationship between space, memory, and identity. How do you explain the bond between this conceptual framework and stone?
Since humanity transitioned to settled life, shelter has been not only a physical necessity but also a foundational element of identity and social existence. As societies evolved, cities emerged, and architecture developed, people found ways to express both themselves and their collective consciousness through space. At the center of this process, stone—one of the oldest and most enduring architectural materials—becomes a tangible medium of memory in humanity’s relationship with place. Today, we read the consciousness of past civilizations through the symbols, motifs, traces, and cultural references embedded in their stone structures, encountering their worlds and engaging in a dialogue across time. Every carving, form, and layer carried by stone transmits the memory of space, the residue of lived experiences, the identities of communities, and the deep meanings concealed within the flow of time. For this reason, in my exhibition “The Memory of Stone,” stone is approached not merely as a material but as a ground where space, memory, and identity are interwoven. The inherent weight, continuity, and durability of stone make visible how space carries memory and how invisible bonds between past and present are formed. In my works, I draw parallels between the traces humans carve into space and the layers accumulated on the stone’s surface, reinterpreting the silent historical burdens, inherent memories, and fragments of identity carried by waste stones through a contemporary language. Thus, stone becomes both a witness carrying individual and collective memory, a body ensuring the continuity of space, and an indispensable element of identity in humanity’s process of self-understanding.
Finally, what would you like to emphasize regarding the relationship between art, sculpture, and stone in Türkiye?
The geography of Türkiye possesses a multilayered and rich cultural dynamism shaped by its history; therefore, it holds a memory that is not only precious for us but also invaluable for all of humanity. In every corner of the land, traces of history, culture, and life are intertwined, carried to the present through the marks left by different civilizations and generations. In this context, art, philosophy, and science play indispensable roles in societal life and cultural continuity. For a society to develop in a meaningful and qualified way, to establish a connection with its past, and to construct its identity, these three dynamics must be prioritized. Art nurtures thought through aesthetics and creativity; philosophy cultivates critical thinking and the ability to interpret values; science produces knowledge, enhances problem-solving capacity, and lays the foundations for social progress. In a geography as culturally rich and historically diverse as Türkiye, the coexistence of these three elements makes it possible to preserve both individual and collective memory, to transmit cultural richness to future generations, and to sustain a vibrant cultural life. Therefore, supporting the interaction and harmony between art, philosophy, and science is essential for understanding the past, present, and future of these lands and for building a qualified society.
Haliç Sanat “The Memory of Stone”
Haliç Sanat “The Memory of Stone”
Haliç Sanat “The Memory of Stone”
Haliç Sanat “The Memory of Stone”
Haliç Sanat “The Memory of Stone”
Haliç Sanat “The Memory of Stone”
Haliç Sanat “The Memory of Stone”
