Belmin Pilevneli @illustrationbelmin - Tumblr Blog

Made In Arts London

I am very excited to be a part of Made in Arts London with my illustrations and notebooks for the Autumn/Winter 2016 Collection!

Today the new collection is featured on their website, where you can have a look at my work

Testing coloured paper for my embossings!

One of our last tutorials:( I will miss it...

On the 16th of September I went to Jala Hadid's show, which was a performance of a woman with both oryantal and western movements and music, that was reflecting an intimate part of the artist's life, for me. I got the book that they published for this event, which contains "intimacy", that have the potential to be used as a reference in my thesis.

#made with tumblr #gif

Today we were in the workshop called The Joy of Sets x The Kubrick Archive. We started working on creating a re-imagined film scene with our 1:1 scale sets!

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Some notes- references

For my thesis, first I want to start explaining my definition of intimacy, for which I will borrow a book form the British Library, this week. But before writing about it, I started to research about the psychological and psychobiological aspects of the way people feel intimacy, and the way it is elaborated into arts. My subject is mainly about the relationship between illustration and poetry that occurs after intimate and intense feelings towards something. So I will limit the manifested arts’ with illustration and poetry (at some point). After reading Ellen Dissanayake’s book ‘Art and Intimacy - How the Arts Began’ I understood that as people evolved the way they express their feelings and communicate have elaborated. Art is the one results of this elaborated evolution. Therefore using art to express our feelings is something very natural, that has a link with our interaction to our mothers, while we were babies.

ELLEN DISANAYAKE psychobiological - biological approach

In the pages that follow, I explore the bodily origins and interconnections of the felt rhythms and modes of love and art, tracing them what may appear to be inconsequential or even unlikely psychobiological beginnings in the earliest months of individual infancy and in the pre-palaeolithic infancy of the human species. I show that human new borns come into the world with sensitivities and capacities that predispose them to join emotional communication with others. I then argue that these same sensitivities and capacities, which arose as instruments of survival in our remote hominid past, are later used and elaborated in the rhythms and modes of adult love and art.

For her the preverbal rhythms and modes became, during human evolution. a means of coordinating and expressing emotional states of mutuality between mothers and infants, eventually becoming the basis for “enculturation” (kulturlenme) and participation in everyday life — that is, belonging to a social group, finding a sense of life meaning, developing competence for life, and eventually engaging in the elaborating (genisletmek) of experience that we now call arts.

For her, humans have evolved to require culture and born with common needs to acquire culture.

p131 (some)

People differ from animals in the way we emotionally influence by other people’s actions and opinions. As people evolved, the way they expressed their feelings and communicate has elaborated. We also have very imaginative and innovative minds. We have insecurities, emotional pains, love bursts, obsessions, resets and worries. We use our inventive brains to create additional meaning. We have the capacity, sometimes need to transform our intimate feelings into art, which is an elaborated way of expressing and communicating compared to the very beginnings of the history of humanity and animals. There is a link between the rhythms and modes and we create.

For her, sensitivities to the rhythms and modes of love and natural being-in-the-world have further predisposed (uygun hale getirmek) us to make and respond to arts, and that it has been through the arts that humans have additionally called forth (diger), expressed, and developed their penchants (eyelim) for belonging, meaning, and “hands-on” competence.

“arts have been intrinsic (esas) to human life, inextricably (icinden cikamayacak sekilde) entangled (karismis) with the most fundamental endowments (yetenek) of human psychobiology.(p129)

—

The biological phenomenon of love is originally manifested (ortaya cikmak)— expressed and exchanged — by means of emotionally (vasitasiyla) meaningful ‘rhythms and modes’ that are jointly (birlikte) created and sustained (devam ettirilmek) by mothers and their infants in ritualised, evolved interactions (etkilesim). From these rudimentary (ilkel) (beklenilmeyen) and unlikely beginnings grow adult expressions of love, both sexual and generally affiliative (yakinlik davranisi), and the arts. That is to say, in their origins in ourselves and in our species, love and art are, I suggest, inherently related…” ( preface xi)

My words - notes

According to D… One of the most intimate feeling, love, which is actually a biological phenomenon is “originally expressed and exchanged with the help of the emotionally meaningful ‘rhythms and modes’ that are jointly created and sustained by mothers and their infants in ritualised, evolved interactions.”

People are very complex with the way they act, think or feel, which differs them from animals. They are kind of living creatures that emotionally influenced by others’ thoughts and actions .

As they evolved through time, the way they express their feelings and communicate have elaborated, which led to arts.

ELABORATED version

She claims that the degree and kind of elaboration is an outgrowth (dogal gelisme), manifestation,(disavurum) and indication (gosterge) to others of strong feeling or care. Art is one of the natural results of the elaborated expression.

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Her paintings, sculptures and writings that include he poems.

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Louise Bourgeois

While I was looking at her works in the new building of Tate Modern, I was really really excited, because she was exactly the kind of artist that I was looking for as a reference for my thesis. She was expressing her intimacy, her psychological traumas, love, fear, loss both through her art and her writings that includes poems. Her poems were as affective as her sculptures and paintings, I think. After searching about her and her life, I understood that she knew exactly why she did something, or what it symbolised, which all reflected purely her life. According to me, her works are very intimate!

“Louise Bourgeois was an artist of intense psychological insight. Her work is often autobiographical, while addressing universal experiences such as birth, death, love, loss and fear.This exhibition brings together a selection of Bourgeois’s late works, alongside a small number of earlier pieces from her remarkable seven-decade career. She was born in Paris in 1911. Her parents ran a business restoring antique tapestries, which sparked her life-long interest in textiles. Though she initially studied mathematics and geometry at Sorbonne, she soon changed direction and trained as an artist. In 1938 she moved to New York City, where she remained until her death in 2010.Bourgeois returned again and again to a number of themes, through the materials she used to express them vary greatly. Her sculpture, drawing and writing are characterised by an unflinching emotional honesty, as she continually retold and reworked the memories and stories that shaped her life.” (Tate, 2016)

http://www.tate.org.uk/context-comment/video/louise-bourgeois-tateshots

I am very motivated right after the submissions, I don’t know why.

This one is a coloured version of my Juniper Lover, with the patterns that I created with acrylic paints.

(Part 2 of my Live Project Portfolio)

(part 1 of my Live Project Portfolio)

FMP Proposal

TITLE

An exploration of social structure in imaginary worlds through classical Turkish Literature that belonged to the Ottoman Period, referring to tales, myths and poems. How is it possible to create a whole new imaginary world in a satiric way, both in line with the specific period in history and the contemporary system?

FIELD OF STUDY

The project is aiming to study and research the literature in classical Turkish Literature to criticise the existing social structures that still exist in the contemporary world, through a visual approach. As the classical literature of Turkey is very rich, both in sense of variety and the information that it gives about the society of the period, it is possible to explore the classification of the society. Even love poems are good guides to discover the existing differences. Not only because of the context, but because of the language too. For example, there were three different types of literature during the Ottoman period: Diwan Literature, Folk Literature and Tekka Literature. Tekka Literature was about religion. Diwan Literature was founded by enlightened people, who could also write in Arabic and Farce. They used their language skills, integrating these languages with Turkish, while writing poems and stories. They aimed to create some kind of a new language that the common society barely understood. These poets and writers were mostly concerned with the ‘upper class’ and the palace. On the other hand, the Turkish Folk Literature naturally evolved after the real issues and problems of the ordinary people. There were some similarities too, like the plant metaphors that were used to describe their beloved ones, but they were reflecting the distinctions of the social classes in a strong way.

“…the community was defined as unlettered, living in the countryside, there fore affected as less possible as from the socio-cultural changes, lived with the oral culture rather then the written culture and economically had low income compared to the society that they belonged.” [Internet]. Available from:<http://www.turkedebiyati.org/Dersnotlari/halk_edebiyati.html > [Accessed 13 June 2016]

Even this quote explains a lot about the different aspects of the society that examines the contemporary world too. The difference in the society led to the creation of altering literatures, which possibly separated the society even more…

The knowledge derived from this specific time and subject: classical literature of Turkey will take the project to a bigger and a general issue of the world: the social structuring that still exists throughout the world.

CONTEXT

A New Childhood: Picture Books from Soviet Russia, House of Illustration, 2016

The exhibition explores the Russian illustration and Soviet children’s publishing in the 1920s and 1930s that were against the political backdrop of the Russian revolution.

In the exhibition, there are illustrations of folk tales, poetry, educational volumes, and extremely rare hand-printed editions. Through this exhibition, its rich collection of visuals and texts about the period, it is possible draw similarities with the political situation in Turkey. They used literature as well in a visual way to show a social reality, which is also the aim of the project. This project will come to an end through an illustration of an imaginary world that compares the social structures in the contemporary and historic periods, in a satiric way.

Dr Seuss by Theodor Seuss Geisel

Geisel was a very influential writer and illustrator best known for authoring popular children's books under the pen name Dr. Seuss. He was creating whole new imaginary worlds, with which he criticized society and politics. The way he connected his ideas and his illustrations is still an inspiration for many.

“…works combined his vivid imagination with a thoughtful understanding of human nature. Truths are whispered from these playful paintings and, if examined closely, one can see Ted winking from every whiskered face...” [Internet]. Available from:< http://www.drseussart.com/> [Accessed 20 June 2016]

Tim Walker’ Photographs

He is another artist that also creates imaginary worlds, but his worlds are like dreamscapes that do not reflect any social or political concerns. “…His works remind people of their own capacity to dream…” (Sinclair, 2008)

RATIONAL

The project will try to give a new point of view on the social structures and differences, through literature in a society, with a satiric approach.

Why now? After the wide research about the differences and similarities of Diwan and Turkish Folk Literature that emerged as different types because of the variety in the society, the project aims now to explore the social structures through the literature to highlight the existing issues of the contemporary world. The previous research focuses on the plants as metaphors in the poems (the Personal Project), which will be taken into a general focus on the literature to further examine the social issues.

METHODS

The methodology would reflect the context and the characteristics of the tales, myths and the poems of classical Turkish Literature, while focusing on the social aspects. After a brain storm and a mind mapping, it would be possible to visualize these with the various techniques and materials which might signify wealth, poverty, literacy and illiteracy… The project would aim to illustrate the issues by experimenting with hand drawn figures, brush strokes and abstracted-simplified forms together with digital drawing. Embossing and debossing are the types of printing that would enable the project to emphasize a specific scene or elements.

PREDICT RESOLUTIONS

From a theoretical point of view, the target of the project is

On a practical point of view, the project is planned to produce visual outputs from the literature of classical Turkish Literature and the social structures that will refer to the contemporary world. Then the knowledge derived from the specific subject and the time in the history will lead the project to a new dimension, which is creating a new imaginative world. It will be produced with unreal elements and forms that will symbolize the society with hand and digital drawings on layers of plexi glass or different types of papers to refer to the ‘layers’ of the society.

ORGANISATION

4 weeks – definition of the area of interest and reference research. Maybe contacting people that are related to the subject.

2 weeks – choose the literature works that deals with social structuring in Ottoman Empire and read articles about the social structures in the contemporary world, while testing and illustrating some relevant visuals.

4 weeks – main experimentation and definition of the final outcomes.

4 weeks – focus on the writing process of the proposal about the subject and study how to show/exhibit both the process and the actual final outcome.

Bibliography

Dr. Seuss Enterprises (2016) The Cat Behind The Cat at: http://www.drseussart.com/collections (20 June 2016)

Sinclair, C. (2008) ‘Walker’s World’. British Vogue

Türk Edebiyatı (2007) Halk Edebiyatı ve Kavramı at: http://www.turkedebiyati.org/Dersnotlari/halk_edebiyati.html (13 June 2016)

New Literature Review

As my subject has changed, I searched for new references, theories and practices.

My topic is;

An exploration imaginary worlds of adults and children, and the influence of computer and phone games. how far they can imagine and what affects them through life experiences.

References:

Lindsay Stripling, affected me with the fantasy worlds or dreamscapes that she created with water colour and oil painting. Together her naive way of illustrating and her unreal subjects are very successful.

“She usually works in watercolor to create her playful illustrations of dreamscapes dotted with simplistic human characters, animals, and objects.”

“Stripling has developed a unique style of watercolor painting that knits together references to her own dreams, folk art, human habits, and the fantasy of maritime lore, as in her images of tiny people riding whales and hosting gatherings by the seaside. “ (http://hifructose.com/2016/06/02/lindsay-stripling-illustrates-a-quirky-dreamscape-in-ouroboros/)

Mark Ryden is the other artist who has been inspiring me since I have seen his works, a couple of years ago. He also draws the unreal but doing it through real anatomical, biological or scientific drawings. He has a very realistic style of painting, while his themes are very unrealistic and creative. He has his own unique imaginary world. His knowledge on scientific facts reflects on his works, while they make them more attractive. I think he is a proof of how creatively a person can think using the most real subjects of the life. His visual style is very different with Striplings, but they both have the potential to make people imagine in a different way.

Sarah Perry’s book If... can be a good reference for my thesis because, she targets the young readers and her aim is to trigger their imagination through paintings and questions that usually no one asks.

‘If...is a book of surreal possibilities. It can be explored in many different ways. you can use a single illustration or combine several to create your own stories. For example, "If frogs ate rainbows.".., what would their craoks sound like and what would they say? Or "If cats could fly...and "If mice were hair.".., what then? In contrast, you can perceive each painting as a complete story in itself. I hope this book triggers a smile (either private or shared ) and will help you experience the real wonders surrounding us all: water can become solid; bees do dance; and birds can truly soar.’ (https://www.amazon.co.uk/If-Books-Young-Readers-Perry/dp/0892363215?ie=UTF8&*Version*=1&*entries*=0)

Fantasia (1940) a film that I grew watching it. And I know that it affected my imagination and creativity in a positive way, while I think it did this to a lot of child. It is a experimental Disney animated feature-length "concert" film ntegrating classical musical compositions with imaginative and artistically-choreographed animation. “The conceptual framework of the individual pieces embraces such areas as prehistoric times, the four seasons, nature, hell/heaven, the themes of light vs. darkness and chaos vs. order, dancing animals, classical mythology, and legend.”(http://www.filmsite.org/fant.html)

Video games and children's imagination(Article)

Bertolini R., Nissimpages S. (2002) ‘Video games and children's imagination.’, Journal of Child Psychotherapy. 28 (3), pp. 305-325

This article is a psychological approach to children’s imagination and the affect of the video games on it.

“This paper explores the meaning of video games from a psychotherapeutic perspective, addressing the technical problem of whether or not this type of play activity favours the development of the infantile transference. Clinical material drawn from intensive psychoanalytic psychotherapy with two children forms the basis for description of the different meanings the video game may assume during the course of the therapeutic process. Particular attention will be paid to the countertransference experience and to the changes in the therapeutic attitude that are necessary in order to facilitate the use of the video game as a tool for communication. The hope is that a description of the internal processes that appear inside the consulting room when children play with video games may offer some insight to all those who deal with childhood - parents, psychologists, psychiatrists and teachers - into the ways in which video games present an opportunity for development of the child's imagination, powers of judgement and ethical sense.” (http://www.tandfonline.com/doi/abs/10.1080/0075417021000022667)

Children's Imagination and Fantasy: Implications for Development, Education, and Classroom Activities. (Article)

Smith, M., Mathur, R. (2009) ‘Children's Imagination and Fantasy: Implications for Development, Education, and Classroom Activities’. Research in the Schools. 16 (1), pp. 52-63.

This article is a useful reference for me in order to learn about the research on children’s imagination and fantasy, the affect of their socio-economies, and their competence in the school. It mentions on the ways to encourage the imagination, which I want to focus on.

“The authors review the research on children's imagination and fantasy as they relate to children's socio-emotional and cognitive development and link those findings to children's academic and classroom competence. Specifically, children who are imaginative and/or fantasy prone tend to have better coping skills and the ability to regulate their emotions as well as score well on measures related to thinking, logic, and communication. Provided in this paper are also both conceptual and applied suggestions for teachers about how and why they should encourage imagination and fantasy in their classrooms. Concluding the paper are practical suggestions for activities and curriculum that use imagination and fantasy to enhance children's academic experiences and competence. “(http://web.b.ebscohost.com/abstract?direct=true&profile=ehost&scope=site&authtype=crawler&jrnl=10855300&AN=46793643&h=s3r9aJpireIaQ%2fdmTYkieSr7TveY8O3rJppAd%2b1kr%2b9QGgCBpDrpHGGFjjDlz0MydddnhFGDpS7exeDkvDWbZg%3d%3d&crl=c&resultNs=AdminWebAuth&resultLocal=ErrCrlNotAuth&crlhashurl=login.aspx%3fdirect%3dtrue%26profile%3dehost%26scope%3dsite%26authtype%3dcrawler%26jrnl%3d10855300%26AN%3d46793643)

Egan, K. (author of the article)

Egan, K., (1994) Young Children., (49) 6 pp. 27-32

“Examines classic fairy tales, noting the lack of attention given the role of imagination in children's learning. Discusses features of fairy stories such as structure, oppositional concepts, and emotional component, then infers four principles about young children's learning. Gives two examples of how these principles can influence teaching to be imaginative and engaging.” (http://eric.ed.gov/?id=EJ489890)

#lccmaivmfmp

Questions for Final Major Project

My subject is changed and still not certain but now here are my questions:

1-How an adult’s imagination is different from a child’s?

2-What changes the imagination of a child during his/her lifetime?

3-Are there people who can still dream like a child? Who are they?

4-How is it possible to maintain the imagination and creativity of a child through his/her life?

5-How far can an adult and a child can imagine or dream?

6-What are the childrens’ dreams like?

7-What are the adults’ dreams like?

8-Is it possible to develop the creativity or imagination of a child or an adult?

9-If it is possible to develop the creativity how is it possible?

10-Do all creative people have a very unique imaginary world or unrealistic dreams?

11-What is creativity?

12-How can the definition of the dream world can differ according to each individual? Or how similar can it be?

13-How do artists visualise their dream or imaginary worlds?

14-How knowledge affects the imagination?

15-How is it possible to show the different dream / imaginary worlds of children and adults through image making and illustration?

20-Is it possible to see people’s sub conscience through their drawings, when it is want to create their imaginary / dream worlds?

#lccmaivmfmp

Literature & Practice Reviews

-Literature Review:

Key sources: (journals, audio, video,articles...)

1- Irepoglu, G. (2014), Gül, Aşkın Çiçeği, Sanatın Çiçeği, Sonsuzluğun Çiçeği. (Rose, Flower of Love, Flower of Art, Flower of Infinity) Istanbul: Yapı Kredi Yayınları

There are poems and visual sources about Diwan and Folk Literature that would be helpful to discover about the social structure, culture, religion and language. The book is mainly about rose, but rose is used a lot in the period that I am searching on.

2- Pala, I. (2015), Divan Edebiyatı. (Diwan Literature) 18th edn. Istanbul: Kapı Yayınları

This is a book that focuses Diwan Literature. It is possible to find out about history of the Ottoman culture and social structures in this book. I came to ‘final’ idea of my final major project subject after this book.

3- Borate, P.N. (2016), Halk Edebiyatı Dersleri. ( Lessons of Folk Literature) Ankara: Bilgesu Yayıncılık

This book focuses on the Turkish Folk Literature in general and there are good examples of poems that reflects the situation of the socitety.

4- Eren A. (2010) ‘Rose in The Hüst ü Aşk’s Depictions’. The Journal of International Social Research. 3 (11) pp. 245-251

This article is mainly about the use of rose in Hüsn ü Aşk, which was a very important work in the Turkish literature. With this article, it is possible to find out some quotes from poems that might reflect the social structuring in the Ottoman Period

5- Granovetter M. (1985) ‘Economic Action and Social Structure: The Problem of Embeddedness’. American Journal of Sociology. 91 (3), pp. 481-510

(http://www.jstor.org/stable/2780199?seq=1#page_scan_tab_contents)

“…This paper concerns the extent to which economic action is embedded in structures of social relations, in modern society…”

-Practice Review:

Key Practitioners: (illustrators, artists, designers, curators, writers, filmmakers, educators, etc...)

1-Anonymous Ottoman miniature artists - with these miniatures that were used also to illustrate poems, it is possible to find out about social sturcutures, religion and culture.

For example: Illustrations in Khusrau and Shirin of Hatifi, dated 1498; Ottoman Turkey

2- James Jean

I like the way he embosses. He is preparing his own copper plates and uses them to emboss his designs with different depth and curves, which are wonderful!

(http://instagram.com/p/vOj1RAtPGQ/media/?size=l)

3- Lewis Caroll

(writer)

Alice in Wonderland is a good example to see social structures in a story. which was illustrated and imagined in very different way.

4-Lauren Collin

Her reliefs are inspirational for the style that I want to use.

5- Dr Seuss

(writer and illustrator )

Many of Geisel's books express his views on a remarkable variety of social and political issues: The Lorax (1971), about environmentalism and anti-consumerism; "The Sneetches" (1961), about racial equality; The Butter Battle Book (1984), about the arms race; Yertle the Turtle (1958), about Hitler and anti-authoritarianism; How the Grinch Stole Christmas! (1957), criticizing the materialism and consumerism of the Christmas season; and Horton Hears a Who! (1954), about anti-isolationism andinternationalism

Final Major Project proposal

I have developed my context & field of study, so this statement is more clear in the sense of explaining my may concerns:

An exploration of existing social differences through two different types of classical Turkish poetry: Diwan and Folk, that both belonged to the Ottoman Period, through illustration an image making.

My aim is to explore the social structuring, using a specific period in the history and a specific subject: Classical Turkish Literature in the Ottoman period.

Final Major Project - Field of Study

Field of study:

An exploration to show two different types of literature through plants in poetry: Diwan Literature and Folk Literature which belonged to the same period: Ottoman Period in Turkish Literature.

First, it will be an investigation into Classical Turkish poetry in general to be focused on the plants in poems, while discovering the differences both in the language, the social targets of the poets and the cultural traditions through illustration and image making. As these two types of Classical Turkish poem are very different, there are various influences between them, which I am also interested to visualize using different techniques.

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