Caner Kemahlıoğlu expresses, "What sets me apart the most beyond my talent is my motto of 'desire and achieve' and my positive perspective."

*This interview, conducted by Eylül Aşkın, was first published in Turkish on 20.11.2022 on the online art platform sosyeteart.com. https://sosyeteart.com/index.php/2022/11/20/caner-kemahlioglu-yetenegimin-disinda-beni-en-cok-farkli-kilan-sey-iste-ve-olsun-mottom-ve-pozitif-bakis-acim/

Today, we are in the company of the young painter, digital collage artist, stylist, and curator, Caner Kemahlıoğlu.

How did your fascination with art begin? Was your family influential in discovering this inclination?

A1: I embarked on the path of drawing with small doodles around the 4th grade. My first exhibition was part of a mixed painting showcase in 2005. If memory serves, I worked on a still life painting for that event. The crucial initial steps in my artistic journey were taken as my mentors Nilüfer and Mesut, whom I still engage with, discovered and guided me, preparing me for Fine Arts High School. The subsequent evolution unfolded through my own effort and passion.

You graduated from Cumhuriyet University's Faculty of Fine Arts, ranking second in your department. Currently, you're pursuing a Master's degree in the Department of Painting at the Institute of Social Sciences, still within the same university. It seems you've chosen not to leave Sivas; what elements tie you to the city, aside from it being your hometown? Do you have plans for your Ph.D. education, perhaps in another city or country? Or do you intend to continue at the same university? Why Sivas for such an extended period?

Initially, during my early involvement in art, I underwent extensive and prolonged courses. The times of middle school, high school, and university preparation were busy, focused on making the most of every moment and learning from my mentors. One reason for my choice to stay in Sivas is my inclination towards comfort and having already created an artistic atmosphere for myself here. I've always maintained connections outside the city. While I've been aware of universities and their events in different places, for some reason, changing cities didn't feel like a compelling reason. Living in a digital age now, I can easily establish connections outside the city with the current possibilities. Beyond Sivas being my hometown, ensuring the continuity of my art history on a solid foundation in this city has been a priority, considering my progress in creating a distinguished artistic signature. Regarding my Ph.D. plans, I do have different considerations. I'm preparing for universities in Istanbul, and the thought of staying in Sivas is not part of my future plans.

Your first exhibition, where you had the opportunity to showcase your works, took place in 2016, two years before your graduation—a moment that must have been both exhilarating and daunting for an artist. What kind of critiques and feedback did you receive? What emotions did you experience?

While there were exhibitions before 2016, the one highlighted as the first exhibition here, considering its display quality and the opportunities it provided (panels, lighting, manifestos, and labels), can be deemed my first professional exhibition. It showcased my openness to criticism and various emotions. The comfort and authenticity in my current exhibitions owe something to that experience. I also keep an eye on the art scene in Istanbul from a distance.

Your transition to professional life occurred in 2018 when you started working as an art teacher at the Maturity Institute. How did your experience as a teacher contribute to both yourself and your art? As a recent graduate teacher during that time, what elements did you prioritize in your communication with students and conveying art?

Post-graduation, stepping into a job aligned with my field and offering a pleasant atmosphere was rewarding. The Maturity Institute, rooted in our city's cultural values, is a hub for artistic research, productions, exhibitions, and fashion shows. Given its relatively new status, the focus is more on production, promotion, and exhibition than on student-teacher relationships. Currently, there are workshops and courses in place, where my involvement is primarily in the design aspect. Naturally, the exhibitions and presentations also stem from this field.

 In 2018, you began participating as a curator and stylist in traditional, cultural, and historical value-focused fashion shows and exhibitions, contributing to various significant projects. One of them being the "World Youth Art Forum" in Sharm Elsheikh, the Ostraka Arts exhibition. You successfully represented Turkey as part of an artist team in the International Workshop held at the gala of this exhibition in Egypt. How do you evaluate diving into an intense professional career right after graduation, especially when many new art graduates struggle with unemployment and the inability to practice their art? Beyond your talent, what do you think set you apart from others?

The period from 2018 onwards transformed my perspective on art. My approach to my artworks, especially the subtexts and the focus on series, developed during this time. Some exhibition offers specifically featured my series works. I participated in the World Youth Art Forum with my piece titled "Distopia," marking the beginning of the Distopia series. Following our representation of Turkey in this project, curatorial opportunities arose as my interest and approach to exhibitions were well-received. My first curation was with my artist friend Damla Yüksek for the "Violence" exhibition. It was opened on November 25, the International Day for the Elimination of Violence against Women. Then came 2020 and the infamous pandemic. The topic for the next exhibition was determined as a result. Subsequently, my second curation project became the "Window of Art in 2020" exhibition. Considering the various global disasters in 2020 (floods, earthquakes, fires, and explosions), the theme of my own works became "Disasters of 2020." Following this, numerous projects followed one after another. Despite being a recent graduate, I've managed and continue to manage many projects. I enjoy collective works. Despite entering my fifth year in the profession related to my field, I've realized that the most crucial aspect is genuine desire. Loving the entire process, from the preparation stages of creating art to archiving and solidifying the manifesto text, has genuinely instilled a love for progression and art in me. Beyond my talent, I believe what sets me apart the most is this motto of "desire and achieve" and my positive perspective.

How did you come across fashion design? Not every painter delves into clothing design. Could you share a bit about this?

A6: My introduction to fashion design unfolded after my encounter with the Maturity Institute. The development of fashion design came about there, and being able to create something in a different realm of art was naturally more motivating for me. I believe every painter possesses design skills; the crucial aspect is bringing them to the forefront.

What are the reasons behind your recent inclination towards digital art? Does it involve concerns about adapting to the digital age?

I've always had a fondness for oil painting, and I still continue with it intermittently. Traditional art pieces, produced with the oil painting technique from ancient times to the present, hold a special place for me. However, in our era, we can view art as diverse, encompassing various interdisciplinary styles. I believe achieving harmony between traditional and digital mediums happens when we skillfully incorporate digital elements and other techniques. In my digital-focused works, I've also progressed with a series-oriented approach. The predominant themes have revolved around pandemics and disaster scenarios. Considering the contemporary art market, yes, post-pandemic, there has been a more anxious perspective on the themes in my works, driven by concerns about adapting to the digital age.

 In selecting theme-based artworks for the projects you curate, what aspects do you pay special attention to in order to create the intended impact?

In theme-based selections, especially considering my long residence in Anatolia, I aim to delve into more culturally resonant, internally profound moments. I've been developing my skills in curation over the past few years. There are so many remarkable names in the current art scene; Kıymet Giray, Marcus Graf, Ebru Nalan Sülün, Derya Yücel are particularly influential figures I follow. I love researching and equally enjoy the productivity and energy in collective projects. I cannot stop creating. For this endeavor, I currently refer to myself as a "Young Curator." One of the most challenging curatorial projects for me was the exhibition titled "Divriği İzinde Çizgiler," meticulously and qualitatively prepared. Fırat Neziroğlu was the Honorary Artist of that exhibition. His contribution not only gave meaning to our exhibition but also enriched our city with his artistic style. We showcased Neziroğlu's artwork titled "Gece & Night." Choosing a historical exhibition venue added an aesthetic touch to the artworks.

Your artworks often revolve around societal issues, prominently featuring the concept of dystopia. It seems that many of your significant pieces draw attention to the disruption of ecological balance. Can we say that you have a need to create societal awareness and convey a message through your art? How would you define your art and style?

Indeed, I incorporated the principles of digital art into my works, drawing inspiration from academic studies and research, particularly focusing on themes of "Dystopia and Apocalypse Scenarios." I reflected the ecological imbalances in our atmosphere in my art. In my first digital-focused series, I addressed Minamata disease and the Chernobyl disaster. The themes of my recent works include pandemics, decay, and quarantine. Within the concept of dystopia I defined, I utilized the bee as a metaphor in my series works, suggesting that the disruption of balance and the change of order will occur with the disappearance of bees in our utopia. This situation not only negatively impacts the human body through touch and airborne transmission but also metaphorically represents surrounding living beings. Depicting the complexity of the human brain, I integrated metaphors that are intertwined with concepts like destruction, war, disaster, and pandemics. I portrayed the decay and disappearance of bodily images, as well as the lingering effects of current pandemics on the physical and linear figures, in distorted spaces. Considering our society as victims of technological dystopia, in creating the Ecological Balance series, I utilized both digital and plastic arts.

Which painters or artists have influenced your style and approach? Do you have interests in other art forms besides painting?

A10: From the classics, Leonardo da Vinci is a significant influence. In contemporary art, I appreciate the artistic styles of Johan Barrios, Gabriel Moreno, Haluk Akakçe, Taner Ceylan, and Erhan Lanpir. Additionally, Sevil Dolmacı, an Art Consultant with an international art perspective, is someone I professionally admire, meticulously follow, and appreciate for her wealth of knowledge, especially in Turkey. I also follow and am influenced by several art platforms, including those supporting young artists like Bazaart, Base, Mamut, etc. Outside of painting, I have a bit of interest in ceramics, although the products I've created so far fall behind my artistic line. My interest and research in the field of curation continue to grow.

You recently participated as a curator in the exhibition named "The Hammam." Could you share more about this exhibition? What are your future projects and goals moving forward?

In early 2022, preparations began for our second major project titled "The Hammam," and initial artist and venue research took place. In this fifth project that I curated, the theme of the exhibition was focused on 'hamam culture,' encompassing a variety of works from traditional textures to contemporary painting styles and techniques. The collaborative effort with Sivas Provincial Directorate of Culture and Tourism resulted in the realization of our Traditional and Contemporary Art Exhibition titled "The Hammam," featuring nearly 35 works by 30 artists. The exhibition took place at the Şemsi Sivas-i Provincial Public Library Exhibition Hall in Sivas, between November 1-6, 2022, attracting art enthusiasts. Notable artists such as Ahmet Kurt, Ali Rıza Kanaç, Ayşegül Baş, Eda Uzun, Fırat Bahşi, Gülşah Tontu Özdemir, Hilal Aytak, and Murat Özcan were among the participants. Over a span of 5 months, we meticulously managed the process by providing necessary data flows to the artists. Additionally, the video installation by our Honorary Artist Hakan Yılmaz complemented the exhibition. Among the upcoming projects, there are several exhibitions with similar themes, followed by the preparation process for solo exhibitions in 2024. I have numerous goals for the future, prioritized and lined up; I hope they come to fruition. My biggest wish is to collaborate with Sevil Dolmacı.

If I were to ask about your happiest and most painful moments?

Happiness and pain, especially post-pandemic, evoke different emotions in me. While "loss" is a painful concept for me, I can define happiness as a readily accessible concept.

Where can our readers reach you on social media?

They can reach me on my Instagram account: @ressam.canerkmhart