Sculptor Malik Bulut, whose natural stone works have been exhibited at international fairs in Istanbul, New York, Chicago, Baku and Beirut, recently unveiled his newest collection at the Armoni Art Gallery, “Horses & Wings.” We sat down with the artist who aims to bring a contemporary interpretation to… whilst moving along the lines of traditional art, and who draws inspiration from history, mythology, and human stories and talked with him about his current work, what kind of a relationship he has with his material, and how natural stone influences his sculptures.
How did your interest in sculpture and the art
thereof begin? What is your story?
Malik Bulut: When I look
back on my childhood, I remember it being one very much intimate with nature. I
attribute my foundation in sculpture to my ability both to use tools and to
observe nature both of which I had acquired as a child, and without even
realizing it. These, I feel, are what lead me to major in sculpture in
university.
What concepts inspire your works?
MB: Traffic jams, dilemmas, and the general chaos
of urban life are thing at all, theme-wise. Unlike many of my contemporaries, I
do not make art that entertains people. Rather, I try to impose contemporary
interpretations on stone that are in line with classical tradition. I seek
permanence, beauty, and meaning. I gather inspirations primarily from history,
human stories, literature, poetry, and mythology.
How would you describe your relationship with
your material?
MB: My relationship with my material is very much
one about (physical) contact, dialogue, and the notion of moving forward
together. The sound(s), dust, and smell emanating from it all give me
indescribable pleasure. My approach to carving is simple: I imagine the form
that I’ve designed in my mind as living being trapped within a mass. The statue
is, in essence, a being awaiting to be rescued and emerge into the light. My
material as much fragile and delicate as it is hard. It had lived under the
earth for ten thousand years, after. Nevertheless, it is still up to man to
transform it into something, anything. When in the hands of human beings,
natural stone has the potential to become a cobble sidewalk, a kitchen counter,
or a even unique work of art.
We are talking about viewing the statue as a
vehicle for expression. How does the material influence the sculpture, as a
means of expression, do you think?
MB: If we are to look at natural stone sculptures
through the language of form, then they are an ancient language that sheds
light on past civilisations. I choose to use the stone as a means of expressing
myself, in order to leave behind a mark on the future through the feelings,
thoughts, and meanings we attribute to the stone today.
What, in your opinion, are the pros and cons of
working with marble?
MB: First and foremost, marble’s fragility forces
one to be patient and maintain their composure at all times. You have to be
constantly alert throughout the creation process. We have pay attention each
and every sound echoing and smell wafting out of both the stone and the tools
we’re using. We have to be one with the stone, in other words. Hardness and
weight not only increase artisanship, they also have the ability to carry you
to eternity and permanence.
Where do you like your marble to come from? Are
there other natural stones that you also like working with beyond marble?
MB: I mostly use Afyon marble and black volcanic
serpentine. Every (piece of) stone is a world unto itself. That said, I’ve
worked with many a different Turkish stone, for Turkey truly is the paradise of
natural stone. I always keep an open mind, to be frank. Each stone is full of
surprises, from how its formed, to where it comes from, to what sorts of
characteristics it has.
Can you tell us a bit about what you’re
currently working on?
MB: There is a series of figures emerging out of
the block of stone. I am currently working away on for an architectural space.
I’m also progressing on a few projects and model stages on a more monumental
scale. Likewise, I’m preparing to re-sculpt a piece that I originally had the
chance to do for a museum in New York, this time for a private collection, and
out of a much larger piece of marble. Lastly, I’ve been thinking and working on
converting 18-decare open-air studio in Büyükçekmece, Istanbul, into an
open-air sculpture museum. This, by far, is my most important project.
Heykeltıraş / Sculptor
Bond (2020), marble (H: 130 cm)
Trot (2019), marble (H: 135 cm)
Connection (2020), limestone & serpentine (H: 57 cm)
Father & Son (2019), serpentine (H: 35 cm)
Deep Sleep (2018), marble (H: 15 cm)
From Pebble to Bronze (2017), serpentine (H: 65 cm)
The Journalists (2017), marble & serpentine (H: 450 cm)
Fallining into infinity (2008), marble (H: 65 cm)
The Bosphorus (2005), marble (H: 275 cm)
Wing (2017), marble (H: 326 cm)
You Fell (2015), marble (H: 165 cm)
Winged Horse (2019), serpentine (H: 70 cm)
Medusa (2016), marble (H: 165 cm)
