Skip to main content

Canan Demir

Closing Reception Fri 3 Aug 5:30PM

One of the socio-cultural aspects of traditional handicrafts is to be used as a means of communication.
People used handicrafts to decorate and to be decorated while at the same time reflecting their emotions. They attributed different meanings to the motifs in the carpets, rugs, socks, knittings, weaves and engravings

In our traditional culture, young girls prepare their dowry with their own hands while preparing their marriage from very early ages. The dowry is the wealth and safety that the young girl takes from her father’s house to her husband’s house. In the past, new brides could not talk at any time and any way in their new home. For this reason; they used the language of their colors and motifs in their handicrafts.

Motifs are a kind of communication and speech tool. Another factor in the appearance of motifs is nature.

Nature has always been an inspirational resource for humanity. When the Four-Leaf Clover is luck and wishes, Life Tree symbolizes the universe, paradise, immortality, eternity, proliferation, water-rain, fertility and progeny.

The rose motif has a distinctive appeal both in world culture and Turkish culture. Rose is the symbol of beauty and beauty as much as it is love and love. Rose is sometimes a longing, sometimes a thank-you, sometimes an offer, sometimes an apology, an interpretation of emotions that can not be expressed… Because It is associated with Spring, it symbolizes the resurrection, revival and eternity. With a very different color of Rose, people symbolized the expression of their feelings towards each other.

The artist focuses on the universal dimensions of motifs used in traditional handicrafts that affect people. At the same time, prefers to use waste materials during the artistic production process. Dogadaki dongu gibi, insanlarin urettikleri urunlerinde bir dongu icerisinde dogaya zarar vermeden donusebilecegine inanmakta ve dogadaki donguye oykunmektedir. The artist believes that, like the circle in the nature, the man-made products can also turn around in a cycle, without harming the nature, and emulates the nature.

S/he does not choose to create an artistic product from new materials he produces. Every material s/he uses is reusable. S/he is not the first owner of any material. This irony is a starting point that influences the artist.

It is important to emphasize spirituality within the past in preference to the idea of producing something new in the past. Aging materials, even if they are materially new at the old times, have new uses, new owners. According to the artist, the story of each of the old items is carried on the memories of the things they know or their memories of a time. In this sense, each reused product acquires a new memory at its new location, its new location.