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(1952, Eskisehir)


1952 Born in Eskisehir.

1976 Graduated from the DGSA Department of Decorative Arts & Textile

1976-2000 Worked on textile patterns and paintings on woven surfaces.

Since 2000 works on painting, placement and design.


Producing textile pattens during her university years and in her professional carreer until 1993, Belen used authentic designs as opposed to the common usage of copied patterns by textile firms. Focusing on the unpublished Turkish motives and on carrying over the traditional motives to the future, she exhibited her relevant works of art in the Hague Sophia Museum. She painted the Windows, Pergolas and Houses in Tunali Neighborhood on the woven surfaces such as tela, raw silk and raw flax between 1993 and 2000 in order to document the dissappearing cultural values. The Pergolas was an important station in her voyage to the pre-experience disformity of the Stone. The Pergolas, exhibited in 1999, focused on the "place-which-is-not-place" used in the Mediteranean world from the 13. century onward. In other words, a house which, resisting the disformity, could not be a house! Something that is beyond the city, in the middle of the nature just like a stone, with its being jerry built, closeness to the sun and amplitude. A place ignoring the dichotomy of inside-and-outside, with its ceiling running out to the stars... The chief material of the pergolas, which are seen throughout the Mediteranean region from Spain to Greece and southern Turkey, is wood. It is an adventure reaching from the knob of the wood to the Stone. Something in the knob and incompleteness attracts her. Just like the Pergolas or the Stones.



The artist, who focused on the motiv of stone in 2000, prepared two series from the pebbles she collected. She exhibited her paintings of 70 different pebbles in the Stones. As regards the exhibition "the Single Stone," she exhibited 45 different  paintings of only one pebble. Belen knows the cloth as well as the stone -as well as she could made the pattern of a stone and transform its eternal hardness into a friendly softness. With the pebble being enlarged 80,000 times, this combative hardness turned into oilpaint on canvas and three-dimensional chusion with eleven surfaces. And today, Ciler calls STONE AGAIN.


* * * * *


Reminding us of the disformity preceding the experience, her stones cast the shadow of the human being's adventure, which is full of crime and violence, on us. Yes, Stone is not only a Stone; also Belen is aware of that. There is no arrogance or glimmer of the Golden in Belen's Stones. They stand there, with all their disformity and modestness; they recall themselves. 



And Belen's pre-form and pre-experience stones watch us -as shortly as a Haiku. Her paintings are inclined to emptiness. That huge disformity touches us with the power of the emptiness, in saying Stone, Single Stone and Stone Again...


Ali Simsek