In this profound interview, Secil Buyukkan discusses her artistic exploration of mystical and expansive themes, such as infinity, purification, and the human soul. Deeply inspired by Eastern and Far Eastern traditions, her work reflects a harmonious blend of nature and the human spirit, often through the use of ink, which serves as both a medium and a meditative practice. With a unique sensitivity to material and form, Buyukkan’s serene compositions evoke an atmosphere of contemplation and introspection, inviting viewers into an intimate experience shaped by their own life stories. Her dedication to capturing the infinite cycle of existence shines through in her evolving series, each piece a part of an interconnected whole.
1
Your works often touch on mystical themes such as infinity, purification, and stepping beyond boundaries. How do you approach these expansive and abstract concepts in your art, and how do you hope viewers interact with these ideas?
I generally create my works influenced by Eastern and Far Eastern cultures, traditions, and belief systems. Concepts such as infinite and unsettling spaces, the self, purification, death, and birth form the core of my work. Far Eastern philosophy and Sufism are also the main subjects of my foundational readings. It is hard not to be influenced by the wealth of knowledge and deep-rooted tradition within the multi-layered culture of the Far East. Every time I read and research, I experience a different emotion and interaction, and this cultural richness continues to deeply affect me. The interaction of my works with the audience is a special and somewhat intimate experience for me. Each viewer may or may not form an emotional bond based on their own life and inner world, and every unique reaction is valuable to me.
2
You mentioned that traditional Far Eastern culture and techniques influence your works. How do these traditions shape your approach to themes like nature, death, and the human soul?
In terms of technique, I prefer using ink in my paintings. Sometimes I use ink on paper, sometimes acrylic ink on canvas, and other times traditional printmaking inks. The relationship between material and artwork is a subject I deeply value. I try to create the effect and emotional state I aim for through these materials. Ink, which holds a significant place in traditional Far Eastern art, also plays an important role in my paintings. I approach my creations with the same sensitivity as Far Eastern monks who paint as a form of meditation. For me, art production, which I also see as a type of meditation, is an indispensable part of my life. The discomfort I feel when I cannot paint reminds me of this over and over again.
3
Your works carry a serene atmosphere, which seems to be a distinctive feature of your creations. How do you establish the balance between natural and human elements to create this unique ambiance? Nature, particularly trees, plays a central role in your work. Is there a specific reason behind this choice, and what approach do you follow when shaping your creations around this theme?
Although I may not use figures in my paintings, each of my works is dedicated to being human, to existing. Each landscape bears elements of humanity. I try to convey human traits or characteristics through landscapes or natural elements like trees and plants. In infinite and dark spaces, a solitary tree, a tree suspended in emptiness, or spaces containing geometric shapes—each painting holds a sense of human presence or a trace of it. This gives the viewer a sense of ambiguity, an unresolved question, or a feeling of being in-between rather than clear answers. The series of paintings I began creating in this style in 2015 continued with titles such as “A Beautiful Place to Die,” “Memory of a New Day,” “Nosce Te Ipsum,” “A Step Toward Myself,” and “Roots Distant from the Soil.” Each of my creations is both a continuation of the previous one and part of an interconnected whole, sustained by an endless bond. This always reminds me of the infinite cycle.
“Each of my creations is both a continuation of the previous one and part of an interconnected whole, sustained by an endless bond. This always reminds me of the infinite cycle.“
Secil Buyukkan
