Büyükdere35 continues to share on the online platform. The artist who shapes his creations with a connection between literature and drawing; Bora Aşık explained his processes to us.
- Can you talk about yourself?
I was born in Istanbul in 1990. I completed my academic education at Marmara University, Faculty of Fine Arts, Department of Painting. In 2015, when I graduated from university, my first book was published (Geceyi Atlatabilmek (Get by The Night)/Everest Yayınları). After literature, I entered the field of visual arts with Mamut Art Project 19. Ever since I was a kid, I have been trying to put some flesh on the bones of my world. I write stories and draw characters. There are two actions, one object that are embedded in my DNA that clearly define me: writing, drawing, and bicycle.
- What kind of factors do you take as a reference in the creation of your works, what is your creative process like?
My mind redefines many things I encounter in daily life. These personal interpretations are where I feed both while writing and drawing. “Logical absurdities”… Especially in crowded and cosmopolitan cities like Istanbul, I am being bombarded by “absurd images”; I have to sort out the ones that will work for me. However, in another city, it is necessary to seek out these “nonsense” and extract it. It’s a cliché, but Istanbul is quite rich in this regard. But the place of man is wherever there is consciousness..
When I go out, I always have a paper and pencil with me; I feel naked without a backpack. My mind is constantly running in the background, I jot down things that suddenly come to my mind or are triggered by an image. I live like a hunter. I don’t do this by planning, it happens ‘spontaneously’. For example, this is one of the most extreme examples of this situation: when I was watching a movie in the cinema, a thought occurred to me and I scribbled something in the dark without taking my eyes off the screen..
- What are the emotions that feed you in the creation process?
I feel the emotions of questions/problems about existence the most. Death is not an emotion, but a skeleton of many emotions. I think about death a lot. Because like birth, it also contains an important mystery. I often come across dead animals on the road, as I use the bicycle as a means of transportation. Some die in my hand, and I take the bodies of others off the road and carry them to safe places. At such moments, a key is turned on the door inside me; What is between death and life? The curtain is suddenly falling in my mind ….
And consciousness.Its state in life and after death is a great mystery. Our bodies are just machines built to carry our brains.The real truth is hidden in the brain and consciousness. I believe for every creature there is an awareness stop in its journey. If we, as humans, have passed this stop, it means that we are responsible for certain things. We have to evolve to the next level in the intellectual dimension. Instead of human-oriented emotions such as love, hate, and sadness, I experience the sensations of some things whose source is beyond human. It is not possible for me to explain this through the existing language, this is why art exists..
- How do you create the fiction between the texts you use and your drawings? What is driving you into this mode of creation?
Edebiyat da resim de birer iletişim aracı. Birbirinin yerine geçemeyen iki farklı alanda yer alıyorlar. İç dünyamda olan biten şeyleri kısırlaştırmadan dış dünyaya aktarabilmek için farklı iletişim araçlarına ihtiyacım var. Resmedemeyeceklerimi yazıyor, yazamayacaklarımı da resmediyorum. Bu sayede duygularımı ve düşüncelerimi kâğıda bir bütün olarak aktarabildiğime inanıyorum..
- Did the pandemic affect your creation? If so, can you explain what effect it has?
Frankly, before the epidemic, I was able to realize the idea that “all living beings have an equal right to life”. This means: We also share the world with microorganisms. In theory, there is no difference between the way we go to the market and shop to survive and their struggle for survival. Every living striving to prolong its existence. For this reason, I continued to live within the framework of the rules by taking my precaution – to prolong my existence. Although I was in the risk group, I was not psychologically affected by the epidemic. Of course, social events like this affected me as much as they affect an artist. I have acquired some new information about humanity; I have witnessed how all values can suddenly turn upside down, how strong the adaptability of man is based on evolution, and many other things. Every image stored in my subconscious during this process will of course contribute to my art life in the future, but nothing concrete has changed in my production for now..
In recent history, humanity has survived two world wars. Even in such a pessimistic process, artistic production did not stop. There is an order, both biologically and socially, where only the strong can survive. Am I strong? I do not know. But I know very well that I will continue to write and draw under all conditions as long as I exist.
Thanks for the interview.