the design of a table
kıvılcım s. güngörün
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“He had found a fractional-based reddish oily substance that would flow from its center when acajun was injected as a liquid into the bowl next to the sinkhole. Then it was enough to take it flat and nudge it with a skeletal comb in brown tones that would make it easy to lay on the surface, so that two new objects, separate from each other, could manage to make this journey out of solid gloss by emitting a strong smell at the same time.”
age: 7
location: first house of age
direction: front of the table oriented towards the middle of the location
Theme: the tonal magic of the painting black with its direction facing it
“I looked at my mother and asked. I was surprised. So how does black have tones? He said of course, look! Showing him his unique painting, you see, these are all different blacks. Turning my direction away from him, I moved a little closer to the plume tones on the nablo. I chose one of them with my hand: it had to be the most attractive black one. I said what's the name of it? He didn't answer. It just added another black finish right next to it.”
lightness = wooden mat
freedom = liquid red
inequality = a lot of money
malleability)= glass quartet transparent
solidity= iron rusty road antifertil bright
timelessness≠love, perfect rock
There's a crushed tin can, millennials. A shiny white stone on one surface, worthless, but it's got the attention. The bent twig was taken to be returned to its place. Spoon, 6 pieces, one plastic red. a white photograph. Is it possible? What about black? Or the broken mirror? Metal cup? Amorphous too. 92 years old ketal(05.21) buckle,; in working condition. A burnt bottle
the surface of a burnt wood, the same flame in different forests. A lantern that turns on-off-the spatial exteriority! The idea that we can materialize the basin, the staircase, the body, on an endless surface, the writing footprint, the globe, the chandelier, the embers, the rose, through the window, leads to destruction, diagonally across inertia.
I leave a hollow parenthesis here to describe the NOW-PRESENT-FUTURE in the entity that divides and copies it (
) If existence has no object, who was time in our dream world with its sonic personality inverted?
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Kıvılcım S. Güngörün
The design of a table / 2021
Mixed media digital printing & installation
*The use of language in the text, which is a part of the work, is the choice of the artist.
art of everyday life
Kıvılcım S. Güngörün (1992) is a self-documenter artist from Manisa, a graduate of İzmir Dokuz Eylül University, Department of Photography. She creates her works around the subjects of memory, life and death by chaining, accumulating/stacking each other through various transformations through the trilogy of street-portrait-nature. Photography, apart from its meanings, is the creator of the emotional space in the moment; It is the way of communication between life and life through which she can reflect her feelings, create new feelings by making inferences. Her photographs transform into different meanings in the series and narrative she enters, and this transformation action is directly reflected in her technique, like the collage she makes with analog and digital techniques. While it supports herself with the flow of life, as well as the importance it attaches to sustainable life and carbon footprint in the city, it also continues with the elements of found objects, garbage and waste materials as a method in creating exhibitions.