Ebru Özseçen
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Ebru Özseçen | |
|---|---|
| Born | 1971 (age 54–55) Izmir, Turkey |
| Website | https://ebruozsecen.net/ |
Ebru Özseçen (born 1971) is a contemporary Turkish artist[1] whose work includes urban interventions, sculptures, photography, videos and film installations, and drawings.[2] Based in Europe, her practice often explores the psychological and sociological relationships between body and space, frequently incorporating elements of architecture and design.
Born in Izmir, Turkey, Özseçen went to various schools to hone her craft as an artist. She graduated from the Interior Architecture and Environmental Design Department, School of Architecture at Bilkent University in Ankara, Turkey in 1994. Özseçen graduated from the same university with a master's degree from the Department of Fine Arts and the Institute of Economics and Social Sciences in 1996.[2][3]
Works and professional life
Özseçen is based in Europe.[1][3]
Much of her work reflects her background of architecture, design, and contemporary art. Through this lens, Özseçen wishes to explore psychological and sociological aspects between space and the body in her art. Her subjects focus in on the dualities of life and society; examples being, gender and public space.[4] In her art, she also embraces the emptiness as its own story and fantasy.[4][3][5] Her work also focuses on concepts such as time, perception, ratio, and measurements within her works.[6][5]
Brief list of artworks
- Şerbet (1999–2010): A film depicting a stack of Burma baklava with syrup pouring off the sides in the form of a skyscraper. Şerbet, Turkish sugar water, is constantly circulated to keep the dessert wet. Özseçen kept the film on loop to signify eternal love.[2]
- Glass Flowers (1999): Özseçen crafted a series of photographs designed to display the reproductive organs of a flower to connect with humans.[7]
- Balls (1997): This is one of the earlier works of this artist. In this photograph, Özseçen displays glass balls and pendants on a chandelier. It was photographed from an antique store in London. This is a theme Özseçen comes back to throughout much of her works.[8]
- Jawbreaker (2009): In this photograph, Özseçen snapped a shot the moment a ball was almost in the subject's mouth. She saw the mouth and the jawbreaker as one, a submissive fetish, and must be coexisting to allow for breathing.[9]