Either you follow that rabbit or you realize that it's a rabbit and dragging someone after you
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Who and why is your favorite fiction character?
Hayrettin: Tim Burton's 1990 film, scissors hands.
İsmail: From the Harry Potter universe, Severus Snape. The common feature of the two is the walls where they knit themselves to protect the structure that constitutes their characters. Characters that reflect their inner worlds outside their bodies with features such as cloak and scissors.
Hayrettin: We can also observe that these common features are reflected in our business. They are not superhero, their situation, the exclusion processes they live in, the fact that they do not feel themselves part of a whole show parallel with our stories.
How is your relationship with timeL?
İsmail: Our relationship over time is very good in general. Early head headLWe are going to do the dayL We are trying to evaluate the day with the awareness of the question we can spend more efficiently. While living in Istanbul, the top of the buildings, the already existing other, how beautiful the full moon came to a house on a house, a blooming balcony already saw, time slowed down in Eskişehir and we noticed more of these other people.
Hayrettin: Before coming from Istanbul to Eskişehir, we were aware of time, we were trying to spend efficiently, but the speed of time prevented us from perceiving time. After arriving in Eskişehir, we can see the seasonal transitions. We realized that we love to be a tourist in Istanbul.
PermanentLhow in this ageL do you position?
Hayrettin: We are surprised at everything in our childhood, but after the growth of everything, we lose our ability to be surprised. In order for something to really leave a mark in memory, at first, that feeling of surprise in childhood needs to be able to occur, he is remembered and shared with emotion.
İsmail: Today, sharing as an action form makes something permanent, and I am not talking about a sharing of social media sharing. It is what makes him permanent when someone explains something verbally, continues to explain, and chooses him to share all these things.
How to freedomL do you describe?
İsmail: Freedom is the ability to protect its own boundaries individually. Instead of an unlimited life, everyone can determine and overcome their own limits. Not to overcome the limits of others. As much as possible, we try to be the same as we want to be as we want to protect our own limits.
Hayrettin: I think it is associated with will. In order to be liberated, we need to be able to control the impulses and reach a saturation. That some of our decisions can cost others' lives, howL If we think it affects it and take control at that point, counterLWe can be free.
What feature you have, would you like to be ordinary and/or normalized?
İsmail: Being a sharing. In this period, everything has become very individual, no one wants to share something anymore, even your feelings. I want to share everything I love, even the money I earn in some way, and when I love a book, I want to announce it to seven worlds. I believe it will multiply by sharing. It is not an unusual feature, but when I look at the general situation, I see that it is very unusual.
Hayrettin: To be a good listener. I don't think anyone listens to anyone. We don't even want some of them to sound, we always want to hear the same sound. I wish we could listen somehow.
İsmail: Everyone is waiting for their own turn to talk and nobody listens.
Hayrettin: Even for people in similar positions, even if the cliffs between the cliffs already scream, he cannot make his voice heard to the other side.
Can we talk about İsmail and Hayrettin separately?
İsmail: I studied art history at Çanakkale Onsekiz Mart University. I started working in the field of art for the first time with Çanakkale Biennial. While I was doing my master's degree, I moved to Istanbul during the thesis period. I have played many different roles in art galleries such as assistant, artist relations and art consultancy. After working as an art consultant for many brands and organizations, I took a break from the art field and started a journey with an Event Agency and then branched and snagged. We entered a period in which the activities decreased with pandemi. Then we moved to Eskişehir and Studio Pinprick was established.
Hayrettin: Fine Arts High School in Mersin Painting BoLI read it. My teachers in primary school or music or music Painting He was guiding me to read. In high school Painting I preferred it, but I was always interested in music. I studied interior architecture at Anadolu University. I would make my own compositions, take clips to these compositions, and do the art director myself, visual arts always fed me very much. I started to work in interior architecture companies in Istanbul, ending the nine five working hours I started in 2011 and resigned five years ago. I turned to music. I'm still doing freelance work. I wanted to calm down after my pande. Eskişehir process started.
When and why was Studio Pinprick established?
İsmail: We were already making production with different materials. When I started my pande, I was looking for additional methods to relieve myself. Hayrettin was also called new techniques. 2021LAfter moving to Eskişehir, Studio Pinprick appeared from the thoughts of what we can do together by using our common talents. Punch became a joint decision, we started by making picture reflections.
Hayrettin: I was doing watercolor and illustrations. Ismail also made weaving, hand embroidery, experimental abstractions on paper. We wanted to turn to productions with high artistic value. We met Punch Needle technique. Punch was a horizon for us. When we could not find the pillow we wanted while looking for a pillow, we met the Punch technique. First, as a gift to a friend, we processed the dinosaur in Jean-Michel Basquiat's Paz Dispenser. Then with this technique Painting we started to do. It wasn't easy, we were forced, it doesn't hold the small details correctlyLis saying. We started canvas attempts. We encountered numerous problems on the canvas, but as we solved the problems, we grasped and connected the technique.
What is Punch technique?
İsmail: Punch technique is a type of embroidery which is processed by the back of the fabric, made by dipping the needle, and both sides of the fabric are used. The front face is fluffy and actually offers a three -dimensional effect. Painting It is also called yarn painting because it is used to do it. According to the types of needles and yarns used, the result and effect can change and can be used on different surfaces.
I guess the word pinprick comes from the technique?
İsmail: We also adopt the meaning of needle hole, needleing in the art of words. We also think we're pimpiric. Until things become final, we're crazy with revisions, we're really pimpiric. He fits us too.
Hayrettin: Sometimes we can sew it many times to choose a color in the picture and dismantle it until it breaks up many times.
Ismail: Sometimes he says leave the fabric.
In the age of image, this slow technique is also like a rebellion, why did you choose this technique?
Hayrettin: We are often exposed to fast produced images that we want to slow down a little more during this period. When it stands out enough to be defined as a current, an opposition develops or does not inevitably. We are happy to be slow, to produce slow, to weave, and the meditative aspect of all of them makes us happy.
İsmail: As we started this business, our motto was “We have no work with speed”. There are Tufting Guns, the tools that provide very fast jobs, but we never wanted to use these tools. The important thing for us is not to produce quickly.
Hayrettin: We wanted to take part in the craft part of the works of art. For this reason, we make the production completely ourselves.
İsmail: Production takes too long, you can think for hours. Planning that time is also very fun. We feed us and our productions, listen to audio books, make music lists. This is reflected in the works. When you slow down to see the detailsLyou are. DETAILING IN THE TEARRIBLE OF PERMITIZATIONLI'm not talking about it, but when you slow down, there's a detailed study that doesn't need to make effort.
In addition to all these slow and traditional technical choices, things also have a digital output. Is this one of the ways to connect the past and the future?
Hayrettin: My pencil drawing is a sketch.LWe work, scan these sketches and transfer them to the digital environment and color. After receiving its output, it weave with the technique and PhotographyWe take it back to the digital environment.
İsmail: Here we are imagining in a new place and modeling again.
Hayrettin: We both like to protect the craft itself and turn things into digital and maintain their current.
How is these two people in your common creation worksL reflected?
Hayrettin: We complete each other's theoretical and practical aspects. Ismail graduate of Art History. Me too Painting I am the one who focused on his work. Ismail writes very good stories under our business. I make 3D exhibition models of our work such as framing and color. We bring together our past talents and combine them in Studio Pinprick.
İsmail: Such things come out of the meeting. The dark side seen when you look at things is amazed, the colorful and bright side is mine. The duality that dominates things comes from this duality. When you look at nature, the perfection of the oppositeL You can observe what you created. When he really understands duality, the angle to all diversityLyou are. Hayrettin: We need opposing color to choose the white color. This diversity also applies to emotions, you can be angry, happy or unhappy. None of them are fixed. It is necessary to realize the transitions and learn both sides. İsmail: It is important to see the temporality of every situation with the awareness of transformation. To understand by waiting, slowing down, observingLyou are.
We see the sections of an ongoing story in the works, how are these storiesL occurs?
İsmail: When we meet a figure, we place it in a world or create a world and how are the figures of this worldL We ask the question of it. The characters we choose are personalities that reflect their own soul. The figures that are located in a place or in nature, so that they are completely broken from time.
Hayrettin: contrary to usLNormal. Our normal is contrary.
İsmail: The figures that seem more contrary are normal in our world. Today, everyone is so the same and uniform that those like him are different and different. We also depict these changes. Hayrettin: Sometimes it is about what we feel that day. We see the cypresses while wandering in the meadows, and the cypresses suddenly appear in our work.Lit is. İsmail: We can also produce work from the paragraph in a book and the music we listened to at that time.
Hayrettin: how the light and the shadowL When thinking that we can use it, the question of what can be done in the point technique, the things that arise when trying to obtain different textures in the weaving. Our notebook is always open in front of us. When we encounter a story, when something comes to mind, we immediately sketches.
What is the reason why the characters are always masked and make -up?
İsmail: Fetish -based, there are elements from rituals, the masks and make -up there are actually accessories used in a spiritual ritual. In fact, everything about the individual's inner world outside the world, the figures that can reflect this, we love the characters.
Hayrettin: fetish, magicLü means object. In fact, our characters are such iconized characters. That's why they have masked and make -up. We do not limit the characters we create to a gender. We use it in the story we dream of whichever is more appropriate. The characters that look like the woman we create are women. Perhaps she could be one of another gender who has made women's makeup. Just feeling. They don't have a sex, they just have appearance.
The soft surfaces you create with the Punch technique also create the need for touch. What's hereL There is a relationship?
İsmail: The world we create creates a fetish world, the technique of the works and the relationship with touch and creates another fetish. The warning that we encounter in the exhibitions makes them more attractive and attractive. We are trying to make productions that will activate the senses. We want to have things that can be watched for a long time and spend time. We are in a touch age. These are things you'll want to touch, but you can't touch it.
Hayrettin: Something that will bother you more ...
The character usually looks directly towards us, can we talk about this election?
Hayrettin: To make eye contact and to be inviting. You watch me, I watch you too. Both the fact that they are looking at us and their postures are actually like family photos, circumcision photographs. In a sense, we can say that we take photos of the character in this fiction universe. We determine a frame from that world, they are also posing, we are trying to paint the moment.
İsmail: In fact, we see the Avatar profile pictures of the characters.
What advice would you give him if you can send any of them to spend time in these created universes?
Hayrettin: Enjoy.
Ismail: Be yourself. Be what you want to be. When you come back to this universe, you'll have to be what you want to be, so go and live yourself.
What would happen if the character in this series was a soundtracki?
İsmail -Hayrettin: Iamx - Spit It Out
What has the character in this series encountered in his journey to search and find himself so far? What did he find? What is he still looking for?
İsmail: The character was looking for himself in the previous series, now he is looking for those who are looking for himself. More confident. It has a two -way structure, a portal angleLYou see a rabbit on that portal, either you follow that rabbit, or you realize that it's a rabbit and dragging someone after you. Whichever one comes to work. You can see what you want to see in that universe.
Are there any new plans, projects waiting to be implemented?
Hayrettin: Very!
İsmail: There are exhibitions prepared in line and there are many series waiting to be made. Gradually, step by step, we are going to do everything this year and think about what to do next year.
Hayrettin: Among the things we plan, there are small stops, this is not a job for us, a lifestyle. We live calm. We don't want to take five more people with us and get fast series. They should all go through us and our journey. Our process is long, our plans are very, we cannot even guess where to evolve after two years.
İsmail: We are in the Stream.
Photography: Enes Alba
Video: Mercan Dinçkök
Interview: my story Pala
Page Design Application: Mercan Dinçkök
Page Design: Studio Pulle