Lately how much we think and worry about “hope/ hopelessness” and then rewind the film again with small individual happiness and resume to live. This seems to me as the will “to forget”. Because at the stage of understanding and interpreting the realities, all of us, by being caught and tightly wrapped by the arms of an 8-armed anxious organism, are tied with the unwinding knots of a so to speak straitjacket.
I wonder what would Little Prince who was wandering from one planet to another and meeting the ones who lost their way with the illusions of authority, ego, lost communication, despair vanishing with drunkenness, who are bound with the fetters of living in an aimless routine that turns into an unquestioned passion of duty say for our dead-end conditions today if his way would lead him here?
All the incidents that we live through keep falling rather fast by leaving deep traces in our lives like peaces of a meteor, like being scattered in a wind, one after another, without the thinking and judging process of the previous one is not over. The sequence of all the incidents permeated in the process perhaps leads the viewer to stereotypical judgments when looking from outside. When looking from inside, we start to be scared and it is like being ineffective and unresponsive in finding direction of the process, like being landed in the middle of a dessert with our plane having broken down. Maybe I am completely mistaken. I withdraw from what I have just written and I say “no”. If I start to be mistaken, won’t I make the already complex clouds even grayer and rise clouds of dust? In order to comprehend a little bit what happens, we need a stage where a little prince/princess will be placed as an imagery. This image should make us step into action in our own private spaces.
Exactly at this point, during the times in which the will to “forget” coincides with the conducive living conditions, Mutlu Başkaya is turning up with the works of her new exhibition. The conceptual space in which form is evolved, discloses the subconscious silences in the individual. The exhibition themed “Everyone is a Prince, Everyone is a Princess”, by occupying the viewer even for a few minutes with the virtues of “princedom”, creates a short-lasting wave of happiness in the dimension that the viewer bears the ceramic crowns. She is the artist herself who views the viewer with such an extraordinary and short-lasting feeling of happiness. I should confess that is a splendidly smart move. As each viewer bestows himself/herself the attitude of “power” by wearing the magnificent crowns and helmets, a known but ignored backstage dust slowly starts to be cleared. I am still stuck in the idea of carrying meaning of the aesthetically shaped form to another space by transforming it into performance. I should underline again that it is a smart move! Mutlu uses two means in exhibiting such a performance. Firstly, she restructures it in her personal imagery deconstructions like she has so far attributed to stairs, spaces, and minimal attitudes by the use of different materials interacting with form, just as the governing/ruling power uses with courage. The second is that by making the people who will bear the crowns sit on special seats that will make them look “magnificent”, she perhaps succeeds to give the glamorous “emotive imagery” that will make the viewer say “Oh, here is a member of my people!” to the viewers. In short, she succeeds to set up a “sovereign” scene. Who would not want to be the power who rules “everything” and “everyone”?
The views who addresses the people in the accompany of power throne and crone/helmet, stares around by clasping at the margins of reconciliation. There are many elements leaking from the inner thoughts of the artist that transform this scene to an artwork. Particularly I will need to mention the presence of a uniting stage setup which supports and exhibits with space the integrity of form-audience. Both the monumentality of the ceramic works and the intersection of special seats and the body inject a dynamics of hope into the process we live today. Changing roles transform despair into hope and translate the heavy side of governing to a satiric language.
Is it possible for a person to leave there “sadly” after coming to the throne with ceramic crone and helmets of Mutlu Başkaya and watching around? After being a prince or a princess and sitting on the throne, who would want to leave his/her position to someone else?! The answers of the questions are made up of a small game. In the name of moving away from the dead-end of unhappiness and hopelessness that we are drawn into, we turn life into small spaces of happiness by sitting on the throne and wearing the crone. The theatrical transformation process in the place of reality to which the imagery likens will remind the individual that happiness will be nevertheless in herself/ himself. I would like to state that the emotive responses that the ceramics at the exhibition of Başkaya will leave is the main aim that the artist wants to achieve. In this framework which is in a conceptual dimension, momentary smiles will come out. With the participation of the audience, the brain storms within the hard body of the ceramic material will end up with an odyssey to another planet outside its own space.