This artwork is inspired by the gossip-themed poems of the famous Turkish poet Yunus Emre, and transforms the expressions "fiskos" "whisper furtively", and "eavesdropping" , which are widely used in Turkish culture, into a visual language. The work is based on a background decorated with lace details of fiskos tables, which were indispensable parts of our homes in the past and especially hosted women's secret conversations. Fiskos means speaking in a secret and low voice, usually in a way that others cannot hear the conversations that should be kept secret. While the female figure in the picture is whisper furtively with the person in front of her, a male figure in the background is shown overhearing this conversation. By placing the male figure's ear in the center of the painting, the artist emphasizes the situation of "overhearing", which represents both voluntary and unintentional listening. In addition, the artist establishes a connection with past murals and works of art by using visual sections taken from old stamp and postcard writings, by spreading lace motifs over a wide area, and by aging the frame of the work. Thus, the artist reinterprets traditional motifs with a modern expression, building a bridge between the old and the new.
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This artwork is inspired by the gossip-themed poems of the famous Turkish poet Yunus Emre, and transforms the expressions "fiskos" "whisper furtively", and "eavesdropping" , which are widely used in Turkish culture, into a visual language. The work is based on a background decorated with lace details of fiskos tables, which were indispensable parts of our homes in the past and especially hosted women's secret conversations. Fiskos means speaking in a secret and low voice, usually in a way that others cannot hear the conversations that should be kept secret. While the female figure in the picture is whisper furtively with the person in front of her, a male figure in the background is shown overhearing this conversation. By placing the male figure's ear in the center of the painting, the artist emphasizes the situation of "overhearing", which represents both voluntary and unintentional listening. In addition, the artist establishes a connection with past murals and works of art by using visual sections taken from old stamp and postcard writings, by spreading lace motifs over a wide area, and by aging the frame of the work. Thus, the artist reinterprets traditional motifs with a modern expression, building a bridge between the old and the new.
oil
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