PERPETUAL MOTION
Open until January 7 at Martch Art Project, Merve Morkoç’s ‘This May Leave a Stain’ is a journey to the borders of surrealism.
I first met you in the early 2010s. People were talking about an artist who drew girl figures on garbage containers. We had a hard time tracking you down. I remember you telling me how you wanted to remain elusive and were very specific about not having your face appear in the magazine. What has changed since?
I was a student in my twenties back then. Everything was different – my troubles, my passions, and how I wanted to express myself. Now I’m in my late thirties. For more than a decade, I have had a lot of time to produce and contemplate. I developed and matured in the flow of life. My work has also morphed with me. This is not a road with stops on the way. You don’t reach a point and wait there. Things are always in perpetual motion.
Do you believe that artists can discover different identities as they continue to create?
I develop new traits over time, ones that I could not have foreseen. I can say that I am a keen observer of how my work evolves.
Your involvement in art started with pictures and stickers and has now evolved into three-dimensional works of art. What can we expect from you in the future?
Frankly, it is very difficult to set boundaries. I’m not shy of any discipline. However, in recent years, there have been works that have not been seen by anyone. These involve video, sound, and sculpture on the axis of performance. I need to focus on them and see where they go.
What captivates you about the third dimension and how the body and form are perceived?
The process of making a sculpture is a physical process and requires direct interaction with materials, space, and the artist’s body. The physical aspect of the process brings with it a sensory experience, such as feeling the material resist you, the weight of the tools, and giving shape to the sculpture. I guess this is the inevitable outcome.
At what point did inflatable sculptures come into the game?
I have been making inflatable sculptures since the very beginning of my artistic output. I had some early attempts at inflatable sculptures, even in my first exhibition. Back then, I was making collage sculptures by cutting and chopping foil balloons. They became more detailed and sophisticated over time.
What is your relationship with Martch Art Project? Would you say there is a symbiotic relationship? Can you give each other space?
This is our first exhibition together, but not our first project. Last year, I did a performance in Piyalepaşa, not to mention the countless fairs together. We enjoy collaborating.
Your latest exhibition, ‘This May Leave a Stain,’ is now open. What can viewers expect?
Some of my recent creations left the workshop and found a temporary space for themselves. The exhibition and gallery are complete when the viewer enters the space. That is the point where it becomes an experience. The viewer’s way of looking and perceiving will change invariably, so my answer to this question is [exhibition x audience present].
What are the pros and cons of working with different mediums and materials?
I seek new materials and techniques. I’m always trying out things, and each new material opens another door. That is one of the things I like doing most in the workshop. By that point, it becomes a natural extension of the artwork.
