Cins “syncopated”

-First of all, can you tell us about your introduction to art?

Hello, I’m Cins. I think my acquaintance with art goes back to my primary and secondary school years. The period that started with reinterpreting the characters in cartoons and books in various magazines at first was shaped a little more when I was introduced to the graffiti culture. Then I do my current works with my art education, research, and my own observations.

-Can you explain the effect of Graphic Design and Visual Communication Design education on your art practice?

I did my master in graphic design and then visual communication design. Of course, I think that these contributed a lot to me, after all, a very graphic language forms the basis of my work. I think that this situation parallels both my taste, my character, and my education and habits. Of course, I think it would be beneficial to explain this job with graffiti culture rather than explaining it completely with education. I think that the culture that I nurtured at a very early age, and the current changing effect on the world, is progressing along with that trend and culture.

-You are an artist who has adopted different techniques such as sculpture, serigraphy and mural. You are also interested in NFT. Can you talk about the contribution that this diversity makes to their production?

Working in different techniques primarily motivates me. Of course, even though this is what I make a living for, I also do it to feel good for some enjoyment. When I produce something with different techniques, I become more motivated and observe the evolution of what I do. When it comes to murals and street art, as I said, it’s the influence of graffiti culture that has always been my inspiration. I started to make sculptures, especially in the last period. I always wanted the drawings I made to come out in three dimensions. I hope they will continue. In this way, different techniques motivate me.

-In this exhibition, you exhibit your abstract works and adopt the cut-up collage style. What awaits us in the future following this style change?

Technically, I started doing this technique 7-8 years ago. The main reason for this style was a search, an experiment, because my work always focuses on line and color; in fact, the line forms the whole backbone. I wondered what it would be like if I removed it. Frankly, I was very excited about the construction phase. It is very impromptu and open to surprises. It proceeds randomly, open to coincidences, without making too many sketches and editing. That’s why it gives me a lot of pleasure as a production phase. For the next, I think I’ll continue by doing this a little bit. It has continued that way until now.

-Uncertainty and disorder have become a constant part of our lives. How does your art practice adapt to this situation?

I think it was a little difficult for all of us. It was the same for me, at first, I spent more time worrying about what would happen, rather than the rush to produce something. But then I realized that the work that I do not only helps me earn my living, but also saves my life. Both as a mind and as a holding on to life. That’s why I started production again, even though it wasn’t a major project, and everything was postponed. It’s been good for me, obviously. But still, the pace of that old period moves slowly due to the lack of a continuous deadline.


Thanks for the interview.



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