Ahmet Güneştekin’s patchworks to go on view at Galerie Michael Schultz
Galerie Michael Schultz presents Ahmet Güneştekin’s solo exhibition “Immortality of Time” on view from 16 March to 13 April. The exhibition consists of the artist’s patchworks through which he explores the fabric of mythologies.
Suggesting a connection of fabric’s uses with storytelling and mythos, the exhibition offers a glimpse into the mysterious power of the fabric. It also shows how the fabric of human lives echoes in the pieced and quilted character of cultural mythologies.
Quilting is a mother tongue, a visual language and culture indigenous to women. It is a medium that has enabled and continues to enable women to create works in which they speak the truth about their lives. This language has functioned in terms of its visual expression, and in terms of its meaning. Furthermore, the quilt aesthetic, in which something whole and beautiful is pieced from discarded fragments, provides an alternative model of artistic creativity, one that can take place within the flow of daily life, one in which a work of art need not be created following linear structure.
Güneştekin’s patchworks in this exhibition explore the labours traditionally associated with women. In this manner, the exhibition is a demonstration of inherent regard for a tangible form of visual satisfaction. Color, pattern and line take precedent over fabric, stitching and regional traits. The works aim to define the aesthetics of the language of quilt making and to bring them into a more central position in the cultural conversation.
A patch is a fragment. It is a vestige of wholeness that stands as a sign of loss and a challenge to creative design. As a remainder or remnant, the patch may symbolize rupture and impoverishment; it may be defined by the faded glory of the already gone. But, as a fragment, it is also rife with explosive potential of the yet to be discovered. The assemblage of fragments, the organization of forms in a complex matrix, suggests depth and intensity as an alternative to progress. The process of collecting and assembling ephemeral but evocative fragments into a form that can be read as a narrative is in itself usually gendered as feminine.
However, in choosing to create patchworks that use paintings elements, the artist is harking back to his mother tongue—to the creativity of her mother, a seamstress, and to that of her grandmothers and great grandmothers who were quilters. He is deliberately choosing to identify with an art form that is not a separate, elite, rarefied activity, the province of the few, but art that comes from life, and expresses the essence of living, an art that tells the truth about people’s lives. The artist is aligning herself with an art form that is based on the joining into wholes of separate fragments of fabric and he is also joining of women co-operatively engaged in creative and constructive change.
The significance of this collaboration for the artist is that the work of sewing patchwork quilts in which old clothes are torn up to make something new and useful is seen by the women as a new creation after destruction, a symbolic act in the sense that something dead is reawakened to life.
Galerie Michael Schultz presents artist’s patchwork series as one where matters of identity, gender, community (collectivity) and aesthetics converge. A patchwork quilt as a trope offers a vast array of interpretative possibilities. The actual quilt is a tangible bond between present and past, while the quilt as metaphor reflects a communal bonding that confounds traditional definitions of art and of the artist. The artist is usually defined as one who breaks new ground and stands alone outside the received tradition. Yet the quilt artist is the carrier of tradition, embracing the past and creating continuity. In this manner, the artist’s narrative quilts stitch past and present together as they reflect and explore the patterns of women’s lives.
For press inquiries please contact:
Güneştekin Art Center
0549 520 73 93