ADIVAR SOKAK

2019

In the end of the summer I moved to a new house. My bedroom was an old living room that had been remodeled. There as a table, some sofas, a wardrobe, a bed and two chandeleers. I enjoyed the big windows that crossed one of the walls the most. These were accompanied by white lace curtains that did not let anyone peek in but would not hinder  the sun of inviting himself into my space. He would appear everyday and I would always let him in. He would come and proclaim every one of my possessions as his. The drapes tried to interfere in this invasion but never with much success. Of this confrontation would result a game of light and shadow that would extend all throughout the room, over the walls, the floor, the sheets, the mug on the table… And I’d experience it  quietly, delighted.

My admiration for the intervention of these two elements over everything that is material grew to an extent that one day I held two nails in one hand and a rope on the other, determined to set up a clothesline in the middle of the room. So I did. There I hung fabrics, papers, garbage bags and even carpets, all to study the effects of the light in every single material.

 

 

 

This instalation fuses organically and uneffortlessly the artistic practice to the everydaylife and the domestic environment.

Paperfolds

2020

This series of small sized drawings exists in the dialogue between textiles and drawing.

The method I used to dye the paper is inspired in the japanese technique Shibori of dyeing textiles.

Through this practice I was able to shed light on properties of the paper that are usually overlooked.

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Paperfolds

2020

This series of small sized drawings exists in the dialogue between textiles and drawing.

The method I used to dye the paper is inspired in the japanese technique Shibori of dyeing textiles.

Through this practice I was able to shed light on properties of the paper that are usually overlooked.

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