In this interview, artist Elcin Ekinci delves into the core themes that shape her artistic practice, from psychoanalysis and biopolitics to gender and the complex ontology of human nature. With a focus on the body as an evolving field, her sculptures reveal the intersections of memory, identity, and cultural influence, crafted through organic forms that evoke a visceral, tactile quality. Ekinci’s work spans diverse cultural landscapes, and she shares insights into how her experiences across different geographies influence the layered narratives within her art, enriching her exploration of body politics and collective memory.
1
How does the concept of the body manifest in your sculptures, and what role does it play in addressing themes such as psychoanalysis, biopolitics, or gender?
Body plays a major role in my practice. I focus on human nature, layers of ontology, psychoanalysis, representation of biopolitics and gender. Through my work, I compose visual connections among all these layers and representations as a part of my ongoing research process. In my approach, the body functions as an evolving field where layered issues of psychoanalysis, biopolitics, and gender intersect. I see the body not only as a biological form but also as an evolving narrative one that holds deep, often unspoken layers of memory, identity, and cultural influence. The body is central to my work as an organic and deformed provocative beings. These forms are a field of research, tracing the progression of deep memories, the collective subconscious, body politics and its invisible effects.
2
The sculptures appear to have organic, tactile qualities. Can you elaborate on the materials and techniques you use, and how they contribute to the themes of your work?
I produce in various mediums, depending on the progress of my research. I like to explore possibilities of materials. In my recent series that is named as “Deep Under My Skin” I used as herculite, resin, hair and marble as a material. I pour and shape each form in performative progress by using herculite. These are organically shaped forms that are originating from my subconscious flow. Each piece is like a representation of my body history, layers of my subconscious.
Once these forms take shape, I arrange them in different compositions, allowing them to gradually come together and start to create themselves a form and body by itself. I bond these layers with braided hair, which I use as a symbolic material to represent memory. Hair is kind of a memory for body and bonds, gathers holds all these layers together like a string.
3
We have seen your works exhibited in various countries, including Italy, Russia, Turkey, and UK, and you have experienced living in three different countries. How do cultural contexts influence the reception of your work? Do you adapt your artistic approach based on these cultural differences?
As I work with representations of body, questioning about identity, belonging, and body politics, I find it invaluable to engage with different geographies and cultures along the way. I like to observe and collect on the way of my progress over different geographies and cultures. The interaction between geography and experience is always an essential layer in my work and add new layers to my progress.
“As I work with representations of body, questioning about identity, belonging, and body politics, I find it invaluable to engage with different geographies and cultures along the way. “
Elcin Ekinci
