TR

2016

Deniz Köse bringing the viewer together with tens of color variations, she aims to trigger their imaginary world and to introduce them to the transmutated.

Can you mention a bit of this technique that you’re using for your linol prints? What is your secret to apply plural layers on the same paper?

Linoleum is a base material made of cannabis weave smeared with linseed oil, natural resin, cork dust, sawdust and limestone. If you draw the picture on it with a knife, only the elevated part take the color, that is because we call it relief printing. To apply plural ink layers on the same paper is a technical detail, thickness of paper, quality of linoleum, thickness of ink that you gave to mold and gradation can give me this opportunity, surely psychological preparation and concentration are the most important elements, if there is 80 tonnes which is going to be print with one mold because you can reach to technical domination after a while, but if there isn’t concentration, you dislocate the knife or paper and usually you have only one chance.

There are a lot of constructive elements in your work, could you elaborate more on the relation of these repetitive references to construction (like an urban environment) and your technique?

For the first time I’m thinking about the relation between constructions and my technical production, maybe it’s more accurate to say why constructions. This is a reaction to unnatural, to a hybridised nature. As we can’t escape from this transformation and it made us like slaves. I’m uncomfortable from this situation and it’s my main concern. Constructions, are some efforts to try to return to substance, to core and to nature by locking the new and accustomed nature into art.

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