Çağdaş Sanatta Travma Sonrası Beden Manipülasyonları

Abstract

Human beings, existing within time, are in a continuous process of becoming and transformation through ongoing movement. This condition also entails their exposure to external influences. Everything that comes into contact with their existence within temporality either becomes a part of them or produces an effect that leaves a trace upon them. From the very first moment of life, the experiences an individual encounters shape their patterns of thought. Individuals who inherently possess certain differences or who are more sensitive to the external world incorporate these influences into their creative processes. In the background of the works produced, a structure emerges in which the individual’s lived experiences find expression.

In this context, the impact of internalized life experiences, particularly traumatic events, on artistic production becomes evident. Trauma is addressed within the framework of the thesis as a practice of tracing. Creations that emerge as a form of witnessing a moment visualize the transformation and externalization of imagination. The artist transforms the data accumulated throughout life into artistic production, often through negativity or otherness within the realm of imagery. Biomorphic structures that emerge as expressions of emotion are approached through an anthropomorphic narrative. In this process, formal deformation is employed in order to reflect the negative aspects of trauma. Through these formal transformations, the resulting creation enables the image to become visible. The narrative constructed alongside the works aims to materialize negative mental feedback loops and the repetition of memory. The thesis approaches the artist’s productions, which run parallel to their life, within a context that reflects their inner world, while also carrying an attempt to make sense of the creative process.

Within the scope of the thesis, the external factors shaping the artist’s creativity are examined and classified under the heading of “trauma.” The artist, who reflects their inner world in their productions, renders emotions and thoughts that cannot be expressed verbally visible through sculpture. Furthermore, a comparative interpretation is developed by examining the styles and narratives of artists who produce similar works.

In this context, the thesis argues that a nuance of life underlies art creation, and emphasizes that traumatic experiences fuel this process.