Timur Q&A

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PAST WORK The motive of the flower with human face features, slightly tilted in its nature, heading forward. The mold of the mold of the mold, arranged in a continious horizonthal pattern strip, hanging on the wall.

[Can you give more info on the size?] Dimensions of the work is 30x80cm. Deriving from an image, flower got its physical existence, be being sculpted out of two-component apoxy plastic. Then pressed in to the plastic with the hot vacuuming machine, creating a mold, tool for further multiplication. Three flowers, from three different materials have been casted out of the plastic mold. Finished work has a form of a strip of a latex mold created by applying latex milk layer by layer on top of the previously casted flowers. Idea or a concept of the 'fast flower' came out of my wish co combine two things: economic speed of production of the neoliberal world and the concept of accessible beauty and cuteness of decorative items.

[The process seems quite slow to me in its production (many stages of work). Does that relationship between handmade, somehow slow production, and mechanical speed reproduction mean something for you? Also, the process of making sounds quite interesting to me, is there an intention in showing that process?] Work was a part of the larger installation, which supposed to look like a workshop where particular work would be done on creating the signature of the flower, discovering its properies, applying rituals, summarizing the making and embedding meaning into particular sign, in this case a flower, so i would relate to it as a preparatory and experimentation procces before the production line, prototyping zone. To show the process of making was the part of the work, i wanted to speculate on a profession and craft of producing powerful symbolism within speculated territory.

The multiplication of flowers and molds as an end object would refer to the rapid production of beauty within dutch economy. As previously i used to work exclusively with 2-dimensional world, i decided to explore material practice by learning the basic molding techniques and possible ways of using latex exclusively as a forming material. Simply bringing something from 2D int 3D by using material and my hands was inspiring enough for me at the moment. This work has been produced in school context and has been intended for learning purposes only, i didnt think of any specific context at the time, except that it should hang on the wall, whether its a home wall or a gallery space wall.

[Would the context change the work?] For this particular work i planned that it could exist in both contexts: domesticity and gallery space. Though i guess everything you put inside of your home becomes retinal at some point.

CURRENT WORK At the moment i am formulating my current work by collecting objects from the environment i find myself everyday in, like studio or streets, combining them into small sculptural objects

[Does the size have a practical aspect (exercise)? Or does it have to do with approachability, in the way we encounter thing in everyday life?] Size does not really matter, it could vary, but mostly its the objects i can carry while driving the bike, which i guess actually influences the size of the objects in the final installation.

, without putting too much attention to the bigger picture of the work. Bigger world out of smaller things, done in a precise detail, creates itself rather unconsciously and intuitively through an everyday practice of interacting with materials and objects, making small discoveries each step of the way.

[How important is the intuitive aspect of it? Does it have to do with an idea of "channeling" the world?] Intuitive is a very important aspect i find in material practice, its definitely channeling, but most of the times the unconscious one, which i enjoy a lot. I am producing things without having a prior idea about them and in the process of creating i get the ideas i apply instantly.

I am making photographic notes almost everyday of curious and ambiguous situations happening to objects and materials around me, being interested in the occasional situation they find themselves or i find them by taking a picture.

[Is the physical disappearance of the things part of the work? Do they remain existent as sculptures or only as photographs? Maybe you are answering this here, but I am not sure I understood:] Photographic practice is the parallel one, i do it anyways and it informs my sculptural practice, i am working on the line of thought or the construction of how both of the practices can benefit from each other. At the moment they are not connected at all.

I project these situations or use directly some of the parts in my sculptural practice, merging the worlds of seeing and making together. Its hard to see any similarity at the moment with my previous work, except that they both have sculptural character. Difference may be that working with the flower, i worked with the figurative nature and long-existed symbolics and in the present work, i tend to go more abstract by combining meanings and qualities of existing objects or altering them by physical action, trying to create somehting i havent seen before, or experienced before. What helps a lot is conversating about my current work with closest peers of mine, formulating thoughts while speaking. Manifesting ideas in the real world. Thinking outloud in an intimate conversation. Most comfortably one to one.

FUTURE WORK Relating the process of creating smaller sculptures and discovering their physical and conceptual properties in future work i would like to form bigger and more complex worlds from them.

[By adding more small things or by replicating them in a bigger size?] I would like smaller sculptures to co-exist in the form of bigger installations.

Complex and over-complex character and meanings, possible speculative realities and situations.

[What role does the maker have in this intention? (I am referring to your GC maybe) But I had the impression that you were creating a world around someone.] On my last group-crit i made everything around the maker and made him disappear too, in my future work i would like to zoom out a bit of the personal practice of the maker and try to take a more macro approach by creating map-like installations.

I would like to explore the moment of fixture, the way that photograph works as it fixes and takes liveness away from the captured situations, i would like to transmit it to the my sculptural installation and discover the properties of this necrosis.

[Is it a necrosis? Or does the photograph possibly have another life by itself?] Thats my own speculation. I'd like to see it as necrosis and would like to see sculptures around as the products of fallen apart necrosis. Medium of photography does not really interest me that much separately.