The beauty of 'back to basics'
Words: Tous Mag | Image Credits: © Nilay Eren |
We struck gold when we discovered these majestic treasures reminiscent of an ancient artefact from a past civilisation. Each shaped vase is unique, each has its own personification, each makes you wonder what their story is. These collections are the epitome of creative imagination and uninhibited playfulness while staying true to their elegance and stature with admirably slick craftsmanship. They’re audaciously bold and when placed together as a collective, on a plinth, you can do nothing other than admire the specialty of them.
Mesut Öztürk mixes his Anatolian and Mesopotamian inspiration with a pinch of contemporary design. His one-of-a-kind Halka Vases require an abundance of time to make by hand, along with an outlook that appreciates the beauty of going back to basics. Using an elementary coiling technique (usually clay is rolled until forming a long roll, then, the coils are placed on top of one-another one-by-one to build upwards) Mesut allows himself, with the help of this meditative method, to slow his way of living right down. It’s his time to breathe.
Merging design and production with, what Mesut calls, “the little flaws of one's hands” he believes you can create something meaningful whilst simultaneously spreading happiness, an ideology we’re sure is shared by many. Calling his way of working his “naive and romantic revolt to the ways of modern living” we’re gifted with a glimpse into the mind of a very contemplative and conscious maker, doing all that he can to live for the moment and enjoy the ride with each slow second that he can.
For more on these intriguing works read the interview, below!
Tous Mag: Could you give us an introduction to Halka Vases?
Mesut Öztürk: Halka Vases are inspired by the prehistoric artefacts of Mediterranean, Anatolian and Mesopotamian civilisations. With Halka Vases, I try to reinterpret their playful forms and translate them into a contemporary design language. I appreciate their aesthetics and aim to explore and reveal their mystery. I also interpret their production methods from an era of which there were no borders between art, craftsmanship and production. I use a very basic method of pottery called the coiling technique. With this meditative method, I slow down my way of living. Because of the importance that I give to uniqueness, each design of the Halka Vases are one-of-a-kind. There are numbers underneath each vase to mark their uniqueness. I started with vase number 1 in May 2019 and I produced the 99th vase this May 2020. I produce them as 15-20 pieces of collections rather than one by one because they are meaningful when they are exhibited together with varying sizes and colours. Mostly, I need a minimum of two months for the designing and production then the collection culminates with an exhibition.
Tous Mag: What inspired you to discover and learn more about these prehistoric artefacts, to then develop you own contemporary take?
Mesut Öztürk: I’ve always been interested in the archeological museums of both the little towns of Anatolia and large cities such as Istanbul, Berlin, London and Paris. The European museums have lots of Anatolian and Mesopotamian artefacts. I also have a master’s degree in History of Architecture. Reading, thinking about history and visiting historical sites and museums are kind of a hobby for me. Learning about the people who lived in the same territory as me is very exciting; they were inspired from the same geography and climate as me. While reading about history, and visiting the sites, you usually only see the cold and boring truths about such interesting architecture and artefacts, for example "X artefact is from X era” etc. I was looking for a different and more exciting relationship with those interesting products and architecture. Then I realised that reinterpreting their beauty can be a joyful exploration.
Tous Mag: What was it about using traditional techniques in your practice that appealed to you more than using mass production methods?
Mesut Öztürk: I think we are all unhappy with using products of mass production in all fields of life. Things are meaningful when they have a soul and a story behind them. We also live very fast in big cities with a lack of contemplation. Contemplation is crucial, at least I need it like I need food. The coiling technique enables me to produce my designs slowly and allows my designs to evolve while making. The division between design and production is also a very modern way of making things, it causes the soulless products around us, so they spread soullessness and nothingness. Merging design and production with the little flaws of one's hands can produce meaningful works. They can spread happiness. It's my naive and romantic revolt to the ways of modern living.
Tous Mag: Does your architectural experience inform your ceramics? What made you start practicing ceramics, after studying in a different field?
Mesut Öztürk: I think it does. Most probably, an artist with a background from an arts school will think differently to me. I have an architect way of thinking while making or planning a work. Architecture is a rooted discipline which has its own tools. I use these tools of planning, research, design, drawing and thinking. I’m used to thinking about forms, compositions of 3d elements, colours, textures and aesthetics thanks to architecture.
Tous Mag: You are a part-time lecturer in the Faculty of Architecture at Bilgi University, what aspect of teaching do you enjoy the most and would you say it's important for students to be open minded about the career paths they go on to take even when studying a specific field?
Mesut Öztürk: I conduct a course called "Ceramics, Craft and Design" for architecture and product design students. I am trying to extend the visions that are formed with their disciplines. We all are expected to become multifunctional and interdisciplinary in our jobs to become successful. I encourage them not to stick with their disciplines' strict borders. The borders are blurring nowadays. As I mentioned above, I emphasise the importance of blurring the borders within design and production. It’s important to research and have contemplation before designing and producing. Another important, but difficult, phenomenon is the search for ‘beauty’. Nobody can give the formula of beauty but there are many beautiful things. So, we should keep trying to find beauty through our works.
Tous Mag: Are there any contemporary designers that inspire you and are you part of any maker communities?
Mesut Öztürk: I get inspired by two architect-artists: David Umemoto and Bruce Rowe. As for ceramic vases, I like the works of Eny Lee Parker, LRNCE, Zhu Ohmu, Eric Roinestad. Amongst the furniture and interior design field, I get very excited by the childish vibes of the neotenic design trend. I’m not part of any maker communities but I do share a co-working space with a freelance designer and a small architecture company. We share our ideas and inspire each other.
Tous Mag: Have you come up against any challenges artistically or personally that have impacted you and your work?
Mesut Öztürk: There are many challenges when you run a business on your own. In terms of issues, beside the artistic work, I come up against the likes of bureaucratic and official things, packaging and shipping, managing social media accounts, material supply, corporate communication etc. I have an assistant but I manage all the processes. In an ideal world, I prefer to be busy with the artistic side only.
Tous Mag: Have you read anything recently that has been particularly poignant?
Mesut Öztürk: Nowadays, I am reading a classic by Dostoyevski and I’m enjoying his deep analysis on human nature. I think his works are priceless gifts for us.
Tous Mag: If we asked you to give an important message to our readers, what would it be?
Mesut Öztürk: We need more beauty and meaningfulness in our lives.
