Deniz Kurdak

BIO

After receiving a BFA degree in stage and costume design, Deniz worked as an academic member of staff at Mimar Sinan Fine Arts University (Istanbul). In addition, she conducted workshops at universities and foundations in Switzerland, Turkey, and the U.S.A., With experience working in fileds such as design and film, Deniz's creative journey took a significant turn following a period of displacement in 2016 where she shifted her focus to textile art.

Deniz was recognized as a finalist for her textile art at the Women United Art Prize in 2022. Her short stop-motion animation movies have been screened at multiple international film festivals, and her work garnered her recognition as a finalist in the "Category of Disarmament" at the 6th A Film Peace Film Festival in 2011. Furthermore, in 2009, she was awarded a grant from the Turkish Ministry of Culture. Having two of her works selected for Saatchi Gallery's "ON SCREEN SELECTION" in 2017, Deniz also participated in various group exhibitions.

ARTIST STATEMENT

Working in textile art, I like to reimagine the meanings of cutting, sewing, and mending by introducing a concept of emotional repair and rewriting personal narratives. I draw a connection between this artistic process and the dynamics of human memory, emphasizing the role of reconstruction. I'm intrigued by the fluid and sometimes unreliable nature of our recollections and our ability to adapt our past to fit our evolving identities.

My exploration also focuses on the relation between memory, place and time. I am fascinated by how familiar scents, half-remembered melodies, or objects and places from the past trigger a rush of emotions and memories. This is often represented by the reoccurence of objects linked to my past. The opposing dynamics such as belonging and alienation, truth and illusion, disconnection and longing, surfaces in my intuitional works.

Ultimately, visual storytelling finds expression through the language of needlework which translates my personal mythology. I employ both hand stitch and free motion machine stitch which function as a restorative process and raises questions to deconstruct the past, relationships, and our identity in transition.

Interview with Deniz Kurdak

Can you tell us a bit about your background and how you became interested in becoming an artist?

I believe that artists are born, not made. The real challenge, however, is whether or not to pursue the artist within despite the struggles. While talent can be innate, the development of skills requires hard work and dedication.

Growing up, I was always the artsy kid. It was obvious that a career in arts was my path, though I delayed pursuing it for many years. Even when I was accepted by the highly esteemed art school in my country- Mimar Sinan Fine Arts University, I chose to study stage and costume design and went on working as a puppet designer, filmmaker, and academic. Only after moving to London and settling here did I have the courage to take a new leap of faith. I decided to start anew, this time following my intuition.

Can you tell us about some of your most memorable early influences?

I wasn’t born into a family of artists or creatives. Growing up in Istanbul, significant shows or exhibitions were either rare or not easily accessible. As a result, my exposure to the works of renowned artists was limited until high school or university, and even then, it was mostly through books or a handful of minor exhibitions. It was the creative people in my immediate environment who motivated me artistically. A notable influence was our next-door neighbor, a painter, who sometimes held workshops for kids. I remember an instance when we did finger painting with this thick, mud-like paint. I loved it so much that I still wish to produce as carelessly.

Additionally my grandmothers were very skilled in knitting, sewing and embroidery and they were keen to share their knowledge with me. I didn’t realise it back then, but now I see that they laid the groundwork for my current practice.

Where are you currently based and what brought you there? Are there any aspects of this specific location or community that have inspired your work?

I relocated to London from Istanbul, primarily due to the political and cultural shifts occurring in my homeland. Istanbul has always captivated me with its vibrant energy and boundless creativity. London, in its own way, echoes this dynamism but also offers much more.

I am very much inspired by objects linked to my past and architecture as well as visual arts. Being able to visit major exhibitions and to be in close proximity to artworks and artifacts that I once could only see in books or during brief touristic trips is an immense priviledge.

On another aspect the move from Istanbul to London exposed me to a more international community, broadening my perspectives and encouraging me to think and explore more openly. The array of opportunities and potential outcomes here seem limitless. I now realize that, in the past, my outlook was more confined and conservative. London has expanded my horizons.

What is your studio space like? What makes your space unique to you?

I currently work in the shed in our back garden and share it with my husband who is an architect. I think this makes it unique enough, ha. I enjoy his presence, particularly his excellent taste in music and knack for discovering new artists. We gel well together, often lending a hand or bouncing ideas off each other. I love this setup as it provides both separation from and proximity to home, significantly saving on commuting time. The flexibility to move in and out of the studio to manage other responsibilities, or even work at night after family time boosts my productivity. Naturally, my work takes up most of the space – baskets overflowing with fabrics, threads, my sewing machine and various materials. It can get quite cluttered at times.

What is a typical day like? If you don't have a typical day, what is an ideal day? Do you work in large chunks of time, or throughout the day?

An ideal day for me would definitely be longer than 24 hours- perhaps three times that. There's just so much I want to do, both creatively and with my family and friends. My day usually starts right after my daughter leaves for school at 8 am. I’ve found that I’m at my most productive when I can work in extended, uninterrupted blocks of time. In the studio, I often get so absorbed in my work that I forget to eat and take breaks. Evenings are reserved for family time, another crucial part of my day. Occasionally, I attend private viewings or meetings to connect with new artists and friends. Nighttime is for research and writing, my energy permitting. This rhythm helps me stay creatively charged while also being there for my family. Additionally, every few weeks, I make sure to visit museums and exhibitions. These visits often double as social outings with friends, providing not just a treat but also a source of inspiration for my work.

How do you maintain momentum in your practice? Is there anything that hinders or helps your focus?

After the initial stages of sketching, planning, and designing my pieces, I spend a significant amount of time on the crafting phase. This part of the process is particularly meaningful to me, providing a calm space, after the more tumultuous stages of conceptualization. In this space, I become deeply engrossed in my thoughts, a state of introspection that often sparks new ideas and lays the foundation for future works.

Like many artists, deviating from my routine or taking extended breaks can temporarily disrupt my focus. Yet, I don't find it difficult to gain back my momentum. I find great joy and fulfillment in being productive. Sitting at my sewing machine helps me stay grounded and makes me feel in the flow. The repetitive act of stitching is not just a part of my creative process, it’s also where I find my greatest clarity and motivation.

What medium/media are you working in right now? What draws you to this particular material or method?

My primary mediums are thread and fabric. I’ve been drawn to these materials since childhood. My early concept of play was countless hours of crocheting, knitting, sewing, and embroidering. As I mentioned before, my grandmothers, adept in practical textiles, passed down their knowledge to me. This passion was further nurtured during my university years, where costume design was part of my broader education.

My work is deeply personal, often mirroring my own experiences and memories. I particularly enjoy how my medium intertwines with my heritage and background. Working with textile art, I enjoy redefining traditional practices like cutting, sewing, and weaving, by introducing a concept of emotional repair and rewriting personal narratives. I draw inspiration from the similarities between these creative processes and the nature of human memory, particularly emphasising the role of reconstruction.

Can you walk us through your overall process in making your current work? Does drawing play a role in your process?

Drawing, research, and writing are all pivotal elements in my overall creative process. Initially, drawing helps me to conceptualise and visualise my ideas. After doing some initial sketches and taking some notes, I use Procreate for my drawings which helps me to explore different forms and compositions quickly. The research phase is where I delve into the themes and concepts I want to express, gathering inspiration and information that will inform the final piece. Writing, solidifies the narrative behind each work.

Once satisfied with my final drawings I transfer them onto the fabric and then start stitching. This marks the beginning of the transformation where I use my sewing machine just like a brush. I manually stitch over the transferred design, moving the fabric to align with my drawings.

The most time-intensive and fulfilling part of my process is this act of sewing. It’s where my ideas take physical form. It’s not just about constructing the piece; it’s a retrospective and often meditative phase.

What is exciting about your process currently?

It's ironic that what we fear the most is often what we need the most. Despite my outward appearance, I'm quite shy and introverted. As my work is deeply personal, discussing it feels like revealing the intimate, almost like being naked. Yet, currently, the most exciting part of my process is meeting new people and hearing what kind of responses my work prompt. It's absolutely intriguing to see my art through the eyes of others, especially those who are complete strangers. I find this exchange very stimulating and inspiring. Hearing varied comments broadens my perspective, sometimes leading me towards fresh directions and ideas to explore.

Can you talk about some of the ongoing interests, imagery, and concepts that have informed your process and body of work over time? How do you anticipate your work progressing in the future?

As a former theatre designer, I'm accustomed to transforming text and concepts into visual, non-verbal forms. As I transitioned from designer to artist, I carried forward this story telling approach. In my art, the narrative behind each image is as essensial as the artwork itself, drawing themes from my personal history and my realtionships. By chosing textile art as my media, I like to reimagine the acts of cutting, sewing, and weaving, by adding a concept of emotional repair.

A recurring motif in my work and a constant interest of mine is pottery, particularly plates with chinoiserie designs that once belonged to my grandmother. These pieces are more than just symbols of my childhood; they represent a time of perceived wholeness. Objects originally produced in the east and brought to Europe, just like myself, ha.

Looking ahead, I anticipate further exploring this interplay of personal history and artistic expression, possibly integrating new themes or experimenting with different techniques.

Do you pursue any collaborations, projects, or careers in addition to your studio practice? If so, can you tell us more about those projects, and are there connections between your studio practice and these endeavors?

Due to my background in academia, teaching has always been an integral part of my creative journey. I enjoy engaging with students, brainstorming ideas together, and sharing my knowledge and experience with fellow art enthusiasts. This interaction often brings new insights and inspiration to my own studio practice, creating a mutually enriching experience.

Alongside my interest in teaching, I've also been involved in exciting collaborative projects. One memorable project was with an artist friend, where we received a grant from the Turkish Ministry of Culture to produce a short stop motion animation movie. The experience of working closely with a fellow artist was incredibly exciting. Even though it was tough, we maintained a great balance and learned so much from each other.

Another lovely collaboration was a voluntary stop motion project for children with disabilities. Working alongside scenarists, directors and carers, we guided the children in animating their puppets and filming their stories. Being involved in community projects like this brings a deep sense of fulfillment and connects my artistic practice to broader social contexts.

Recently, I've received offers to teach again, which I find very appealing. Since moving to London, I've been working solo and in a rather isolated manner, but when the time feels right, I’m open to the idea of teaching again or engaging in other collaborative projects. Conducting public workshops, in particular, would be wonderful. Teaching and collaborative projects bring a dynamic energy to me. I believe these experiences would enrich my studio practice with new perspectives and ideas.

Can you share some of your recent influences? Are there specific works—from visual art, literature, film, or music — that are important to you?

My biggest source of inspiration is undoubtedly the visual arts. I regularly visit exhibitions, especially when I feel blocked. Seeing new approaches and different techniques fuels my imagination, helping me break through creative barriers. A visit to Hew Locke’s exhibition at Tate Britain last year and his works in general particularly stand out to me.

Besides visual arts, architecture, psychology, and music are also constant influences in my work. I’m particularly drawn to classical music, and currently, Ravel’s 'Bolero' and Prokofiev’s 'Dance of the Knights' are my strongest obsessions.

Can you elaborate on a recent work of yours, and tell us the story of how it came to be?

This piece, titled 'My Familia Grandiosa,' emerged from a period of introspection and familial contemplation. A recurring motif in my work is the chinoiserie plates that once belonged to my dear grandmother. They represent my childhood and symbolize a time of unity and nurturing. However, the deliberately broken and reassembled form of the plate illustrates the relationship between pieces and the whole, both literally and metaphorically. It reflects on themes such as breakage, repair, history, and memory. I chose to remain true to the colour and design of the plate (representing tradition and continuity). The soft, unbreakable materials like fabric and thread, that connote mending and resilience, create a juxtaposition with the fragility of porcelain.

Who are some contemporary artists you’re excited about? Is there a recent exhibition that stood out to you?

I’m constantly inspired by numerous contemporary artists, and there are several significant names that stand out. To start with, Hew Locke, as mentioned above. I’m also a huge fan of Louise Bourgeois and her textile works which are loaded with intense emotional power. The multifaceted creations of William Kentridge, particularly his blend of theatre, drawing, and film, resonate deeply with me, aligning closely with my background in stop motion animation and theatre design.

Sheila Hicks is another artist I deeply respect and from which I draw significant learning. Nick Cave, Chiharu Shiota, Do Ho Suh are other artists that excite me. Additionally, I find great joy in Clare Woods’s still lifes, characterized by her distinctive fluid painting style.

Living in London has been a privilege, especially for the opportunities it has provided to experience these artists’ works in person. Whether in major retrospectives or more intimate gallery settings, each exhibition has been a source of immense inspiration and learning. This ties us to your question about how I’m inspired by living in London.

Do you have any tips or advice that someone has shared with you that you have found particularly helpful?

When I was preparing to apply for Mimar Sinan Fine Arts University, my drawing teacher commended my skills but also cautioned me not to rely solely on them. He emphasized that someone less skilled but more hardworking and consistent could eventually surpass me. It is very true; the power of consistency is immesnsely importatnt. In my experience, being consistent also helps overcoming self-doubt, too.

Additionally, not an advice for me personally but something I heard Marina Abramović (another artist I greatly admire) say in an interview that I resonate deeply with. She mentioned, ‘I only do something if I’m afraid of it, because that’s the whole point.’ This idea aligns perfectly with my current philosophy, highlighting the significance of stepping out of comfort zones to foster growth and making new discoveries.

What are you working on in the studio right now? What’s coming up next for you?

I am currently working on a piece using water-soluble fabric, a material I find fascinating with so much potential for experimentation. It requires some different techniques but is also similar to embroidering on normal fabric. The effect when the fabric dissolves in water, leaving behind only the stitches, is truly exciting, creating a delicate lace-like appearance.

As for what’s next, I’m interested in incorporating spoons into my work. Spoons, as tools for feeding, symbolise nurture and solidarity for me – feeding someone else or each other represents care and connection. I’m not yet sure how they'll be used, but I'm excited about exploring this concept further.

To find out more about Deniz Kurdak check out her website and Instagram.