"Fata Morgana"
Fata Morgana by Alper Aydın | 20 June- 10 September 2023 | Ordu
Alper Aydın, a visual artist residing in the enchanting Yason Burnu, Ordu, and predominantly working within the scenic landscapes of Yason Burnu and its surroundings. Through his creative endeavors, Alper Aydın endeavors to forge a fresh mode of connection between humankind and the natural world, inviting us to turn our gaze towards the marvels of nature.
His inaugural solo exhibition,“ Fata Morgana”, draws its name from a rare aerial phenomenon—a manifestation born from the vertical dispersion of air masses. This spectacle gives rise to an optical illusion where objects or even groups of objects seem suspended above the horizon. (In essence, 'Fata Morgana' is akin to a mirage, making objects appear as if they are hovering above the sea.) This exhibition unfolds as a post-apocalyptic reflection, presenting imagery of extraordinary scenarios.
I had the privilege of visiting this groundbreaking exhibition, which spans a vast 100-hectare area, in this unique and local setting within Turkey. My journey took me to the captivating city of Ordu, where I instantly fell in love with its charm. As I explored the windswept shores with the sea's waves crashing around me, I found solace in its embrace, and I left the city feeling both weary yet invigorated and incredibly content.
Exhibit venues:
<TAŞBAŞI ART AREA>
<JASON CHURCH>
Post-Apocalyptic Narrative: In recent years, the city of Ordu has witnessed a disturbing surge in heavy rainfall and floods, a grim consequence of intensifying global warming, misguided environmental policies, and reckless urban development. This devastating trend has not only claimed human and animal lives but has also laid waste to precious natural habitats.
The genesis of the 'Post-Apocalyptic Narrative' springs forth from an archive of loss, painstakingly curated by Alper Aydın in Cape Jason, his tranquil abode. This archive comprises fragments and relics washed ashore in the aftermath of these cataclysms. In a somber reflection of nature's decline, the installation encompasses two striking sculptures:
* Snake, 2023
Polyester 420 x 70 x 70 cm
Here, a serpent is disoriented and entwined around a tree trunk stripped of its roots and branches. In this composition, the absence of discernible tree roots and branches effectively traps the snake, leaving it unable to escape or find its way. In times past, observers drew parallels between such a coiled snake and the white veins within trees, forging connections in their interpretations. Interestingly, within the church's confines, there's a notable deviation from the traditional portrayal of Adam and Eve. Instead, in the shadows, a white serpent takes center stage, symbolizing the concept of healing, in harmony with the very meaning of 'Jason,' a name associated with healing.
* Wolf and Man, 2023
Polyester 205 x 118 x 520 cm
The second sculpture features another fallen trunk, suspended from the ceiling, with a man and a wolf poised in a way that even the slightest movement threatens to disrupt the delicate equilibrium. In this post-apocalyptic epoch, we are confronted with the last remnants of a once-thriving forest, serving as a poignant reminder of what once flourished.
* Bend, 2023
Iron, grass in various dimensions
<CAPE JASON>
* The Real Weight of Stones, 2011-ongoing
Plastic paint on rocks, in various dimensions
During the summer of 2022, Alper Aydın embarked on an extraordinary endeavor, dedicating approximately two months of his life, to working tirelessly for 11 hours a day as a fisherman out at sea. His mission? To give life to a remarkable project that would captivate the world. This project, in its essence, is a photographic chronicle of 208 distinct rocks, each one meticulously documented.
Alper Aydın's process was nothing short of awe-inspiring. He painstakingly determined the actual weight of these rocks through precise measurements of their height and their immediate surroundings. Following this meticulous data collection, temporary paints were artfully applied to these rugged stones, transforming them into tangible works of art.
The location where these awe-inspiring works were born, nestled between the charming locales of Fatsa and Yason Burnu in the Eastern Black Sea region, represents a poignant chapter in the story of nature's resilience. It stands as the last vestige of untouched natural beauty along the coastal stretch spanning from Turkey to Georgia. Sadly, over the past three decades, shortsighted environmental policies have paved the way for road construction, leading to the obliteration of coastal areas. Today, the rocks we gaze upon serve as poignant remnants of the once-amorphous landscape in this region.
The impact of Alper Aydın's work extends far beyond the shores of Ordu. It transcends borders and found its place on the grand stage of India's most significant contemporary art exhibition, Kochi Biennale.
At its core, Alper Aydın's work narrates the universal themes of the human experience: the fear of life and death, the profound solitude and uncertainty that plagues our existence, and the eternal quest to fathom the very essence of nature. Through his interventions on these rocks, he invites us to contemplate these profound concepts.
* E V, 2023
Iron, 560x320x390cm
The essence of "EV," signifying both dwelling and homestead in the Turkish lexicon, unfurls a constructivist domicile reborn. Behold, the "E" has gracefully relinquished its customary stance, while the "V" boldly inverts, enfolding the "E" beneath its canopy. This visionary configuration births an aperture for introspection, wherein the very concept of home transcends conventional confines. Here, light, unrestrained, courses through the heart of the structure.
This notion of home, porous and unshackled, finds its expansive domain not within the bounds of man-made demarcations but within the nurturing embrace of nature and the limitless expanse of human thought. It heralds a paradigm shift, redirecting our gaze from brick and mortar to the living tapestry of the world that surrounds us. This crimson sculpture stands as a living metaphor, an homage to the ancestral era when existence harmonized with the rhythms of nature, predating the age of permanent abodes. It is a poignant reminder of our intrinsic unity with the natural realm.
* Breaking Point, 2023
Plastic paint on rocks, 1120x580cm
* Face-to-Face, 2023
Aluminum, iron, oil & acrylic paint, gold-leaf, concrete, 385 x 340 x 430 cm (each)
[Click on the Instagram post below to see the satellite dishes in motion - During our visit; there was a malfunction in the electric motors]
“One of the dishes holds the ornaments of the dome of Hagia Sophia, while the other is the parecclesion of Chora Monastery. The forms and the ornaments of these small representations of the vault of heaven have been adapted to the antenna systems used to communicate, observe, and receive signals. They unite with the sky in the open air. This work directs people’s gaze to outer space, the unknown, and the infinitude of imagination and reflects hope about the future.” (taken from the official Instagram post, link here)
Each of these satellite dishes, with a weight of 4.5 tons (to withhold a storm), underwent a meticulous crafting process spanning six months. Each dish is hand-painted with various artistic techniques such as calligraphy, oil painting, gold leafing, and acrylic. This endeavor was carried out by a dedicated team of three individuals in Istanbul, while the mechanical and iron structures were expertly fashioned in Ankara. Remarkably, these dishes execute a full 360-degree rotation every 45 seconds through an electrical mechanism. [Click on the Instagram post above to see the satellite dishes in motion - During our visit; there was a malfunction in the electric motors]
<CAPE SÜLÜ>
* The Source of Life, 2023
Upcycled plastics, polyester resin, iron, obsidian 700x260x100 cm
[On July 28th, the 20-meter tall sculpture was shattered and disappeared due to rising waves. During our visit; the sculpture was gone]
Renowned Dutch artist Hieronymus Bosch, in his triptych painting "The Garden of Earthly Delights," dates back to approximately 1490-1500, where the outer panels serve to frame the central main panel. On the left panel, we find the depiction of the Garden of Eden, The central panel presents a sprawling panorama filled with naked figures immersed in innocent, self-absorbed delight. It also features fantastical composite creatures, oversized fruits, and hybrid stone formations, while the right panel portrays the Last Judgment.
In the left panel, a youthful-looking God presents Eve to Adam, set within a landscape inhabited by exotic animals and peculiar semi-organic hut-like structures. In this composition, every figure gathers around a small lake at the center of the painting, and within this lake, a whimsical pink fountain crafted from plants and the shells of crabs, oysters, and sea urchins stands with an almost natural presence. Alper Aydin was deeply moved by the fact that nearly everything revolves around this fountain.
Drawing inspiration from Bosch's fountain concept, Alper Aydin crafted a similar structure at the center of an ancient quarry submerged in seawater on Cape Sülü. This endeavor aimed to establish a setting for discussions and reflections on the global situation. By bringing Bosch's fountain idea to life through the recycling of plastics carried ashore by storms, effectively transitioning it from a flat, two-dimensional representation into a tangible, three-dimensional creation, the artist opens up avenues for nature, animals, and people to interact with and appreciate this unique fountain.
“ Dear friends, I would like to share some news with you. The fountain sculpture named "Source of Life" was destroyed by the waves this morning (28 July 2023) at 9:47 AM and returned to the sea from whence it came. Despite enduring three storms, this work couldn't withstand the waves that exceeded its own strength this time. This magnificent sculpture will remain a beautiful image in our minds for those who witnessed it... On one hand, I understand that any structure we build permanently can disappear in an instant. Placing the sculpture at Cape Sülü always carried a risk, and we accepted that, but its enduring presence amidst all the chaos, storms, and waves was a significant symbol of resilience and hope for us. From now on, whenever we find ourselves in the midst of emptiness and waves at Cape Sülü, we will fondly remember that the fountain once stood there. ” - The artist’s statement right after the sculpture has gone (taken from this post)