She was born in 1963 in Istanbul.
She has been working sculpture since 1993.
2006 Gallery Artist Istanbul
2007 Broadway Gallery New York
2008 Kare Art Gallery Istanbul
1996 Vakko Art Gallery
2000 Pi Artworks Gallery
2003 AccenturcDesign Gallery
2003 Tuyap Art Fair Ekvator Gallery
2004 Accenturc Design Gallery
2004 Tuyap Art Fair Ekvator Gallery
2005 Kile Art Gallery
2005 Tuyap Art Fair Gallery Lebriz
2006 Art Istanbul Gallery Selvin
2006 Miami Art Basel
2007 Ekav Art Gallery
THE POWER SHOW OF FRAGILE FIGURE
As an “autodidactic” artist Çiğdem Yapanar, took a remarkable step on overcoming amateurism in her sculpture exhibition which prepared at Gallery Artist at the last year by her ten years experience. There were some specific features to distinguish between that step and its similar approach which were seen among other artists in same category. Although the works that were fragile and stretched figure form loaded full of energy towards its frame in the collective title of “the students at Kokot school”, based on human which is an ageless theme of the art of sculpture, this theme released from normality related to porous texture she used, even gave it an impressive “proficiency” which could be seen in works of professional artists and provided power of conception and ability. Human bodies which were flexible and in the double figure wholeness sometimes supporting each others’ existence, carried a kind of poetry by motion and dynamism to peak and then it built a new spiritual clasp by keeping its stressful condition. Even though Yapanar’s works that represented anatomic minimalism, immediately reminded us the last period sculptures of Giacometti from far environment and Zühtü Müridoğlu from near one, in her works sher determination about being far away from the artificial structure of every kind of “model” choices.
After one year’s break, her new works have followed the previous works but more than it they have been attending another vision. It is possible to comment that the new vision is related to a “power experience” which is reduced to concept of singular figure. Çiğdem Yapanar has worked on lots of series to bring the kinetic posture of the figure into balance by elastic metal. So, she sometimes makes stable the agile action of the figure by oppressive rhythm of a taut arrow, sometimes brings together the uncontrolled rashness of the arrow and the figure. However, at the both of situation we can see that the effort of the figure on carrying its power on top level and such as an athlete it jumps by blance of a stone towards more far away.
In addition to this, I must attract attention on significance of permanency involved in calculating dimension of figurative dynamism and transforming it into mode of sculpture. Hegel indicates that art work demands to reveal its free spirituality as it desires to pass beyond of its nature which is immobilized in external being. In this case, “process” was more significant issue than existence. Moreover, allegorical meaning is occurred at the end of this kind of struggle. If we discuss the issue above this context, we can meet with this kind of allegory that is occurred by human existence, at the especially background of sculpture which is massive form. During this phase, the human existence in hand of sculptor could be capacity, power or it could sign to a symbolic phenomenon which demands to get dominant position or even it could lead audience to discover more varied meanings. Thus, the characteristic of “replacement” moves away from definite phenomenon, then integrated into another role.
Çiğdem Yapanır’s lengthy figures, relating to the expressing ability of their hidden power, overcame to destroy borders of being visible and observable as a material. Among her sculptures, the fragile human bodies both represent of unexpected determination and resistance, and emphasize on the message of balance between form and theme.
igns of this acquaintanceship did not make distinctive effect at all. In this case, It was not difficult to notice her addicting to her individual world which made us think of
Kaya Ozsezgin (Art Critic)