I know you are an extremely detail-oriented person. Therefore, details must be decisive in your life as well. I am sure our readers would like to get to know you better. Could you tell us about yourself and these details that shape your life ?

The description of being a “detail-oriented person”... Actually, I am at an age where I want to escape this definition . As one gets older, one wants to simplify, to be less detail-oriented. However, let me tell you a little about myself in a “detail-free” way .

After my law education in Turkey, I completed my studies at New York University. Later, I conducted research on copyright, trademark, and patent law at the University of Amsterdam Faculty of Law and completed my doctorate.

I am currently a partner at an international law firm. Additionally, I am a board member of Entegra AŞ. Asian Art Collectors’ Foundation’ın da yönetim kurulunda yer alıyorum. Furthermore, since 2019, I have been a member of the Contemporary Istanbul Advisory Board.

Art has always been a part of my life. Since childhood , I would buy paintings, drawings, and prints of artists I loved. Later, this gave way to more conscious collecting. After 2005, a more serious acquisition process began.

Nowadays, I dedicate a lot of time to art. This time comes naturally. I read, research, and, of course, see. I generally try not to miss the exhibitions of the galleries I follow, both domestically and abroad.

Every year, I am invited to the Rijksakademie Open Studios. For this , I always make an effort to go to Amsterdam. New discoveries in art always excite me. For this reason, I have recently developed an interest in Eastern and African art . I am currently trying to develop this aspect of myself .

In one of your interviews, you mentioned that your interest in art began and developed in childhood with the encouragement of your family, that you participated in competitions , and that perhaps you became a collector because you weren't an artist. So, why do you think a child as well-equipped and aware as you did not pursue being an “art producer”?

Mine is probably a situation related to an individual realizing they have multiple talents during their developmental years and their desires and expectations from life being different at that time.

When this happens, in later years, you may find yourself re-evaluating some options you had previously discarded . Unlike the general trend, my family always wanted me to be an artist. However, I really wanted to study law, and so I did.

But creativity and art have always been a part of me. Even if it was a hobby , I always engaged in something creative. The real answer to your question might be courage and patience.

Being an artist requires courage and patience. Although I am courageous, I believe my impatient personality came to the forefront. For this reason, I enjoy saying in interviews , “I became a collector because I wasn't an artist.”

Being on the collecting side of art, lending a hand to art and artists in some way, is perhaps a reaction I developed against my inability to act courageously in childhood .

At the beginning of the period when you started collecting artworks, what kind of satisfaction did the first pieces bring you? What is it like to own, purchase, and live with a work that has been thought through, labored over, and carries fragments of the creator's soul ?

Actually, there isn't much difference between the first or last piece in terms of a person's motivation for acquiring art.

In the early days, appreciation was paramount. In later periods , knowledge and research replaced appreciation.

The desire to own a work that you like, know, or have researched is, in short, a matter of ego .

I know you have a very extensive collection. Can we talk about satiety ?

This is a very variable question. When you think you're full, you can get hungry again . You can make mistakes when you're very hungry. Then you reach satiety again .

Ultimately, these are all quirks of building a collection. If you truly want to build a good collection, and if it's in your genes , then you are always hungry.

What is the core motivation of your collection?

My collection changes, evolves, takes risks, and in a way , reflects me.

I can say that the core motivation of my collection is my own life journey . For this reason, we develop, evolve, create, and move forward together .

As far as I know, your other collection consists of African Tribal Art pieces. Considering the current general situation , even an interest in art is already a highly refined pursuit; could you tell us about your interest in African art from you ?

Yes, I collect ancient African tribal sculptures. These usually consist of slingshots and sculptures from different tribes .

This interest began years ago with two ancient African slingshots I acquired from an antique dealer while visiting the Venice Biennale .

Later, I realized that African art, with its naive images, symbols, and patterns, has been an important source of inspiration for contemporary artists of every era .

When you look at these African pieces individually, you realize that each of them is actually a contemporary art sculpture. They all align with my contemporary art collection and create a magnificent visual feast.

To understand the impact of Africa, a source of inspiration for many artists, on contemporary art , there is an important resource. I recommend examining the catalog and book of the exhibition titled “Before Picasso.” This book explains how Picasso was influenced by Africa in his works .

In short, any work or piece that is ahead of its time already possesses a refined quality and attracts my interest .

So, where do you stand within this extensive collection composed of different styles ? How much, or in what ways, does your collection reflect Mehmet Ali Bakanay in his daily life ?

Actually, I think I just answered that question. I am right in the middle of the collection.

The collection forms certain segments of my life. That's why it's special to me. It changes, evolves, takes risks. It's quite dynamic , as you can see.

I would also like to touch upon your close friendship with the late Selma Gürbüz, whom we recently lost . It was a great loss for all of us , but I am sure the void of this loss has not yet been filled for you either.

Oh, absolutely! Selma's passing is still something I struggle to accept into my system . I am very, very sad.

Now, we will learn about, listen to, and understand Selma Gürbüz and her art from you, from past interviews, from books, and, of course, from her works. As someone so knowledgeable, aware, and selective about art , I am sure you have things to say about Selma Gürbüz's works .

Each of Selma's works is actually a materialized expression of her delicate soul . Without a doubt, she was the most masterful storyteller in Turkish painting .

With this mastery, she left a unique and original legacy to Turkish art. We will all witness that her place in Turkish contemporary art will grow exponentially .

My acquaintance with Selma's works began in the early 2000s with her exhibition at Galerie Maeght in Paris . In those years, I was not living in Turkey , and I was in a period where I was generally trying to get to know the artists I loved better .

From the first moment I discovered Selma, her ability to convey so much within simplicity , her mastery in self-expression, her professionalism in technique, and her unique color tonality always captivated me .

What you truly see when you examine her creative process is her discipline, patience, and her ability to capture the spirit of the times by continuously developing herself .

An irreplaceable loss for our art world. Just like my deep friendship with her, which will never be replaced .

I want to turn back to you. While researching you , I learned that you have a fondness for objects. How do you interpret this “fondness for objects ” within yourself?

Actually, it's a topic I haven't thought much about. I love dimension. I also love sculpture very much.

Since my childhood, I have always collected objects in one way or another . Recently, my interest in rare, atypical animal objects has increased .

Perhaps my desire to create collections in different fields could be the reason for this fondness .

I know that your collection primarily focuses on diptychs and that duality is important to you. What do duality, the wholeness composed of two opposites , and dualism mean to you?

You answered your own question: “Wholeness composed of two opposites .” Isn't life a duality? Like yin and yang...

We see many individuals and institutions opening collection exhibitions. Do you have any future projects in this direction?

To date, many works from my collection have been exhibited both domestically and abroad .

I have some future projects. Some pieces from my African tribal art collection will be exhibited in France. There is also a new project in Poland . However, unfortunately, all of them have been postponed until after the pandemic.

If I were to ask you for a single artist, a single work, and why, who would it be ?

A difficult question... Since I've talked so much about Selma, let me give an example from her .

I can mention Selma's work titled “Beautiful Woman in Kimono,” which is in her own artist collection. She told me that she had depicted me .

Last question... Non-existent art policies, the near monopolization of our country's art market , branding in art, a conservative approach to art , the current state of public art awareness, the future of our country's art, and young artists struggling to survive under these conditions ... In your opinion, what is necessary for young artists to sustain their existence , and if you were to give one piece of advice to young artists, what would it be ?

It is quite difficult to answer this question with a single piece of advice. I can summarize it as follows:

I believe that young artists who can produce patiently without succumbing to the manipulations and speculations of the art market will be the true artists of the future .

Understanding and following the evolution of art is only possible with a broad and continuously updated vision .

I believe that without grasping this vision, the future cannot be seized. It should never be forgotten that the artists who shape art history are those who produce with faith despite everyone and everything .