Mehveþ Demiren started her journey into ceramic houses by creating replicas of Bophorus houses and mansions. Years later she turned to ceramic mirror frames and tables, now she is working with old doors and screens. For seven years Demiren molded and formed ceramic houses from different regions of Anatolia, including typical houses of Safranbolu and the Harran Valley. The ceramic artist explains her reason for redeveloping an interest in mirrors and tables as follows: “I wanted to create something more functional. The first things I thought of were tables and mirrors. I thought I could create ceramic frames for mirrors.” In every object of art, there is a hidden story from a different time and a different culture. Even if Demiren says that she rather tries to conceal her emotions instead of reflecting them onto her work, there is this silhouette in the middle of a puzzle-like ceramic object: the characteristic form of a man and a woman. This piece is called “reunion” and it very well seems to be a reflection of her inner world. Demiren explains that these puzzle-type ceramics are a new experiment, but she intends to continue her work on them. Talking about decorating mirrors with ceramic frames, Demiren admits that she rather looks at the rim of the mirror, but not the mirror itself. “Because I work a lot with mirrors, I prefer not to look into them. I look at their rims. After a certain age, you don’t want to look into mirrors all the time, anyway.”
Prejudiced To Art
After studying sociology in France, Demiren studied English at the Cambridge University. According to Demiren, Turkish people tend to overestimate art objects created by graduates of the academy of fine arts. “If the artist is a graduate of an academy, then the art object must be good” is an attitude Demiren highly disapproves. “It’s all a matter of taste. You may dislike the work of a professor from Mimar Sinan University, but instead get excited about the objects of an artist, who developed his skills in a workshop”, she says. When Demiren is working until the early morning hours in her workshop overlooking the sea, she is happy to organize her family life and her job - a major problem for women in all professions - in a balanced way. “Even if you are in a very important position, as a woman housework is expected of you as well. This is a double burden. Nevertheless I never thought of giving up my work after my daughter was born. Demiren says that her husband is very supportive in this respect. “Even my daughter realizes how important ceramics are for me, so she does not try to drag me away from it”, Demiren adds.
Working At High Costs…
Asking her whether working with ceramics is expensive or not, Demiren explains: “The kiln and pulverized paint are very costly, especially imported paint, which I use. Building a ceramic workshop and maintaining it are expensive as well. No matter if you build a place of your own. These ceramic objects are created with so much care, that most of the time they even don’t pay of.”
Ebru Yener..... I Never Wanted to Be an Academy Graduate Mehveþ Demiren has inaugurated many exhibitions in the past. Now, she is preparing for a solo exhibition in Amsterdam in November. “I had to work very hard to open an exhibition abroad”, says the successful ceramic artist. Demiren explains the difficulties she encountered while she was preparing for the solo exhibition in Paris. “If you want to present your work in Paris, you have to acquaint the exhibitors with your works and prove them that they are worth exhibiting. I am working now for about three years on this subject. My aim is to present my works, which are received with great success in Turkey, also in Europe.”Demiren is not an artist who graduated from the academy of arts. She grew up in Ayfer Karamani’s workshop where she was introduced to and guided through all details of ceramics. Demiren’s teacher realized her outstanding talent and encouraged her after some time by saying, she should get ready soon, as they were going to present her objects in an exhibition.
“My teacher and mentor Ayfer Karamani introduced me to all the details of ceramics in such a marvelous way that I never felt less important not to be a graduate of an academy. I believe I enjoyed a very comprehensive and far-reaching education; therefore I never felt inferior”. Demiren believes that it is not necessary to be a graduate of an academy to become a fine ceramic artist, as there are many renowned artists with great works who did not enjoy a formal education on ceramics.