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Candan İşcan ”Gereğinden Öte”
Apr
-First of all, can you tell us about yourself?
Hello, I’m Candan Iscan. I am from Ankara. I am a graphic design graduate, I continue to do my job. At first, I worked in a few corporate places, then I switched to freelance. When I switched to freelance, I also started my art studies. Then the two began to go in parallel. Now I am working as a freelance graphic designer. Besides, I continue my art works in my workshop in Kadıköy. At the same time, I teach for one day at the university. I can say that the department I graduated from, graphic design, is one of the factors affecting my work.
-What are the resources that contribute to the formation of the language that compose your works and that feed you?
When I think about the sources I feed on, botanical and anatomical drawings used to affect me a lot. I can say that I have been influenced and fed by pop surrealism and lowbrow movements lately. In fact, I can say that events in the daily world, a book I read, a movie I watched, are among the sources that feed them all.
-We see that you periodically work on different mediums in your works. Can you tell us about the formation process of this versatility in your art practice?
I think it is something that affects the practice of art a lot, as each different medium opens up a different way to approach a subject. In the beginning, we are human too, there are times when I get bored of using the same technique all the time, I can say this first. Secondly, I work on a set of feelings that we can’t put our finger on, but can only describe, in art practice, and sometimes I can approach them in different ways using different mediums. In addition, there are points where I get blocked in terms of content, and the way I use most to clear these blockages is to change mediums. As the medium changes, the medium feeds the content, the content feeds the medium, and this turns into a cycle that transforms and feeds each other. I think art practice is something like this, it should be a cycle that will accompany your life throughout your life, so I love working with different mediums.
-What is your reason for calling your exhibition “SUPERFLUOUS”?
I started making oil paints during the pandemic period. The pandemic has come as a shock to all of us, I guess everyone agrees with it. It made us question many things in all of us. Then the point where the world is now is the economy, the war, the metaverse etc. I call it surreal where there is really endless uproar now. World has hit us in the face. When we look at something after the pandemic is over, the feelings and reactions we can’t believe the things we see and hear, also remove the reactions. I mean, I used to be angry, but the world is in chaos and complexity, which is so emotionally overwhelming that we can’t even believe them anymore. That really seems too much to me, and “Superfluous” literally means too much. The name of the exhibition came from here.
