 |
 |
"Creation, to me, is to try to orchestrate the universe to understand what surrounds us. Even if, to accomplish that, we use all sorts of stratagems which in the end prove completely incapable of staving off chaos." Peter Greenaway |
siir ozbilge |
"... It is in vain that we say what we see, because what we see never resides in what we say." Michel Foucault |
 |
1980 - 1984 |
 |
Bosphorus University, The Faculty of Arts and Sciences, History Department |
|
1984 - 1985 |
|
Vienna – Künstlerische VHS (Silk Painting Techniques) |
|
1985 - 1987 |
|
Vienna – Leslie De Melo WUK Ceramics & Paper Sculpture Workshop |
|
1987 |
|
Vienna – Birth of Imge, my elder daughter |
|
1990 |
|
Madrid – Birth of Sine, my younger daughter |
|
1996 - 1998 |
|
Vienna – Margareten Youth Center Painting & Drawing Workshop with Children |
|
1999 |
|
Vienna – Institute of Sciences & Arts Feminist Theory & Women Studies Center Opening Exhibition by Women Artists |
|
1999 - 2004 |
|
Vienna & Istanbul – Ilerix Internet Solutions Ltd. Web Design |
|
2000 |
|
Vienna – Cafe Purkersdorf Personal Exhibition |
|
2000 - 2004 |
|
Golden Horn Records Co. All graphics design work including CD Artcovers and web design |
|
2002 |
|
Vienna - Intercultural Theatre Personal Exhibition |
|
2003 - 2004 |
|
Istanbul – Cey Fine Arts Gallery Painting & Drawing Workshops with Children |
|
2004 |
|
Istanbul - Hayalet Publishing Book Cover Design |
|
2005 |
|
Istanbul - American Cultural Association Art Gallery Personal Exhibition |
|
2005 - 2006 |
|
Istanbul - La Fontaine Pre-School Education Painting & Drawing Workshops with Children |
|
2007 |
|
Istanbul - French Street Fair Painting & Drawing Workshops with Children |
|
2007 |
|
Istanbul - Eti Kids' Ship Education Project Painting & Art Workshops with Children |
Siir Ozbilge is a contemporary
Turkish woman painter and designer. In the 90's she lived and worked in Vienna, and moved back
to Istanbul, her hometown in 2002. Siir devised her own technique in painting. She mixes sand, stones,
earth, paper, and crystals with acrylic color, and creates thick tissues on the canvas. Occasionally
she uses textiles and other materials.
|
The primitive begins alone; he inherits no practice. Because of this the term primitive
may appear at first to be justified. He does not use the pictorial grammar of the tradition –hence he
is ungrammatical. He has not learnt the technical skills which have evolved with the conventions
–hence he is clumsy. When he discovers on his own a solution to a pictorial problem, he often uses it
many times –hence he is naive. But then one has to ask: why does he refuse the tradition? And the
answer is only partly that he was born far away from that tradition. The effort necessary to begin
painting or sculpting, in the social context in which he finds himself, is so great that it could well
include visiting the museums.
But it never does, at least at the beginning. Why? Because he knows
already that his own lived experience which is forcing him to make art has no place in that tradition.
How does he know this without having visited the museums? He knows it because his whole experience
is one of being excluded from the exercise of power in his society, and he realizes from the compulsion
he now feels, that art too has a kind of power.
The will of primitives derives from faith in their own
experience and a profound skepticism about society as they have found it... John Berger
|
|
|
|
 |
 |