First, could you briefly tell us about yourself so that our readers can get to know you better?

I was born in Istanbul. I studied at Mimar Sinan Fine Arts University, Department of Painting, and graduated in 2012.

After finishing school, I gained studio experience in Beyoğlu, Galatasaray, and Boğazkesen. Here, I focused on my own work for a long time and also taught painting.

When you teach, you notice your shortcomings more clearly. This created a good opportunity for me to improve myself.

Everything doesn't end after graduating from school. Saying, "I've made it," becomes one of the biggest obstacles to one's own development. One must always be open to learning.

For this reason, I took ceramic lessons at a private ceramic workshop to benefit from different disciplines.

Academic education plays a decisive role in many people's creative lives. What are your thoughts on this? Do academies provide us with sufficient equipment to enter the art market?

Academic education is necessary and important for establishing the foundations of art. However, in my opinion, its sufficiency is debatable. Especially concerning the post-graduation period.

Topics such as exhibiting, creating an artist portfolio, and gallery-artist relationships are among the areas where many people struggle .

Your work doesn't end with just painting or producing sculptures. The real work begins when you step out of the school gate.

You have to enter an unknown world, like a fish out of water. This part can be quite challenging and exhausting.

Indeed, many people who have received art education find themselves either in an effort to discover things or working in different fields due to financial difficulties .

I believe this situation is a sufficient reason to crush the hopes of young people who dream of studying art.

Which artists in art history captivated your interest and influenced you in your early days? What do the movement, color, and compositions that transcend the ordinary in your works tell us?

I had the opportunity to study artists who interested me at different periods. Among the names that influenced me, I can list artists from different periods and styles such as Francis Bacon, Picasso, Matisse, R. B. Kitaj, David Hockney, and Dana Schutz.

In my paintings, spatial abstractions and deformations where bright colors are prominent are among the striking elements.

A compositional structure consisting of unreal and accidental elements, indicating the allure of uncertainty, can be observed.

Although uncertainty can be daunting, a world where everything is clearly visible would lose all its mystery.

For this reason, all the elements that come together randomly unconsciously find a place for themselves within the compositions.

The potential for a painting to simply begin and go somewhere, and to undergo change over time, makes this path even more appealing to me.

You are extremely bold and generous in your use of color. Are the colors in your works merely a plastic element for you, or do they correspond to certain meanings?

The colors in my works are merely elements of the composition. Beyond that, I have no concern about attributing different meanings to colors.

Colors can be considered a plastic element. Perhaps there is a stance against a pessimistic viewpoint hidden in this.

Bright colors can be perceived as cheerful or aggressive. Because they are quite suitable for both emotions. However, it is not a meaning I consciously intend to convey.

Both the formation of compositions and the colors emerge randomly during the production process; somewhat impulsively, and somewhat accidentally.

Thus, I do not limit myself and create an opportunity for myself to produce more free works in my subsequent steps.

The functioning of the art market, especially in Turkey, is highly debatable. What are your thoughts on this?

Our esteemed Professor Özdemir Altan constantly emphasizes a point: "If there are no works that have left their mark on world art in the country's museums, it is difficult for work to emerge from there."

The capabilities of societies raised seeing original works by great artists and those raised without them will, of course, be different.

This situation directly affects the art market. An art market managed by people who are dominant in this field and work according to the ideal of art would be much more effective in reaching a universal standard.

Because in this case, the primary motivation is the ideal of art. However, to be realistic, it's a market, as the name suggests; a medium where money circulates. Here, more materialistic motivations come into play.

I wish a collaboration could be established where art, the artist, and the market could all benefit together.

As an artist, how do you evaluate the state's culture and art policies ?

In our country, new galleries have opened in the recent past; biennials, international art fairs, and exhibitions by globally important artists such as Picasso, Rodin, Dalí, Rembrandt, and Goya have been held.

These developments allowed for close examination of important works and enabled society to benefit from artistic and cultural activities .

These are positive developments for our country. However, I hope that all branches of culture and art will be supported much more to produce important names, like countries that are more advanced in this regard.

Art is an extremely powerful yet ambiguous concept. Although it contains different meanings and purposes for everyone, what is its equivalent for you? Should we call this endeavor merely a form of expression, or almost a divine purpose?

Many definitions of art have been made to date. In each definition, certain points were highlighted.

I do not believe that the concept of art can be limited to a single definition. Definitions can only be slices of that large pie .

For me, art is a process. Time will show where this process will take a person, I believe.