Dive into the world of Mustafa Pancar in our latest “Three Questions, Endless Expression” interview series! Discover how he brings life to seemingly ordinary scenes, extracting narratives that make us pause and wonder.
He says, “I paint seemingly ordinary scenes as if they were important, extracting a narrative from them. I aim to capture a unique narrative caught between the ordinariness of the subject and free association that disrupts it.” Curious about his inspirations, techniques, and what fuels his creativity? Check out our exclusive interview to get an intimate glimpse into his artistic journey.
1
We see that your works generally depict urban life and everyday scenes, encompassing a wide range of motifs from public spaces to personal memories.
Yes, I have always been interested in cities and the life within them. Through this interest, I have developed topics related to both architecture and human life. I try to re-experience the sensations I observe on the canvas. Let me put it this way: I have always found the imaginative narration of a storyteller close to myself. In a story, when a landscape or a corner of the city is described, we perceive those places through the narrator’s state of mind and the colors they paint with. Dry narratives only describe; the good ones gently draw you into the flow of the story. Similarly, in painting, lyrical (fluid) narratives attract me, and I pursue them. This way, I believe I can achieve visions of dreams, ambiguity, and complexity. I see these as fundamental truths of our lives.
2
Your works are part of the Dr. Nejat F. Eczacıbaşı Foundation collection, and your piece in the museum's own collection was featured in the inaugural exhibition of Istanbul Modern. Your works are also found in the collections of collectors like Mustafa Tahviloğlu. How does having your art included in these prestigious collections and exhibitions affect your creative process?
My works are included in several collections beyond the Taviloğlu collection, which is a wonderful thing. The pieces I create will be preserved and passed on to the future in an organized manner. I see private collections as vital for the preservation of modern cultural heritage in our country. I believe that the increase of such collections serves as a motivation for professional artists
3
As a founding member of the Hafriyat Group, you contributed to creating a platform where contemporary artists can express critical perspectives on social and political issues. How has this experience shaped your approach to art?
Yes, as a group of artists, we approached the phenomenon of the city not from a scientific or nostalgic perspective, but in the context of the everyday atmosphere experienced in the moment. We started this in 1996. At that time, we chose subjects that were not considered significant. We aimed to create political and social content by dealing with flawed, dysfunctional architectural developments and incomplete, broken, and non-functional things. The art we created expressed the psychological fragility brought about by all these negative aspects in an absurd or ironic manner. This was a very conscious and stubborn attitude that continued for about ten years, resulting in an interesting visual aesthetic that people followed with curiosity. It is still remembered today.
The narrative aspect of my paintings was shaped by the Hafriyat Group. I gathered impressions while wandering through the city (Istanbul) and obtained visual clues I could use. I tried to recreate an everyday scene, incorporating my own state of mind. I paint seemingly ordinary scenes as if they were important, extracting a narrative from them. I aim to capture a unique narrative caught between the ordinariness of the subject and free association that disrupts it. These are the practices I explored during my work with the Hafriyat Group.
“I paint seemingly ordinary scenes as if they were important, extracting a narrative from them.“
Mustafa Pancar
