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Ancient Olive tree Sculpture

Semra Ozumerzifon

Turkey

Sculpture, Other

Size: 23.6 W x 19.6 H x 25.6 D in

Ships in a Crate

This artwork is not for sale.

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ABOUT THE ARTWORK
DETAILS AND DIMENSIONS
SHIPPING AND RETURNS

I started to make olive tree sculptures after an unfortunate incident in 2014 that occurred in a small village called Yirca. 6000 olive trees were uprooted in one night, against the will and protests of the villagers, to make way for a thermal power plant. The incident was widely covered by the pres...

Year Created:

2018

Subject:
Method:

Sculpture, Other

Rarity:

One-of-a-kind Artwork

Size:

23.6 W x 19.6 H x 25.6 D in

Ready to Hang:

Not Applicable

Frame:

Not Framed

Authenticity:

Certificate is Included

Packaging:

Ships in a Crate

Delivery Cost:

Shipping is included in price.

Delivery Time:

Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

Returns:

14-day return policy. Visit our help section for more information.

Handling:

Ships in a wooden crate for additional protection of heavy or oversized artworks. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.

Ships From:

Turkey.

Need more information?

Need more information?

Themes of my work, either in two dimensional paintings or in three dimensional forms, change over time. My inner emotions, experiences and perceptions, are converted into an artistic expression through color, texture and form. Whether in the series of « Tears of Bosnia » which was inspired by sad social events in 1990ies or in the series of « Whirling Dervishes » depicting divine spiritual thoughts carrying me gradually from figurative to abstract in oil painting, I always concentrated on color and texture. As I tended towards sculptural forms in recent years, color and texture still persisted in my work as a result of my long history of oil painting. As form and content developed I found it quite appealing to use media other than paint to obtain color and texture which had the potential to contribute to artistic expression. This led to a natural passage from two to three dimensional works. Fishnets captured my attention with their textures and rich color and plastic potential. I collected them from fishing villages around Istanbul. Combining them with other materials, I experimented in the search of a new artistic language. My first experiments gave way to 3D tableaux as I worked in layers. I did not paint over the fishnets because as collected from the fishermen, their colors were already rich and varied with the potential of conveying an "enduring" feeling. As the depth of three dimensional works increased, transparence and textural elements augmented and improved the plastic expression. Wishing to emphasize depth and transparency, I used iron frame structures thus creating « soft sculptures». In contrast to media that exploit modern technological devices which are used widely in contemporary art, fishnets remain modest. In my compositions they recede from their traditional functions and find a completely new identity. Recycled fishnets in parallel to their new identity as an artistic expression, still continue reflecting their own message in the background, by bringing to mind environmental and sustainability problems, pollution of waters and extinction of species. I think this nature of fishnets adds a conceptual aspect to my work and enriches its expression.

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