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Artist and academician Aygun Dincer Kirca opened her fourth personal exhibition titled "Boundaries of Ceramics" in May in MSFAU Tophane-i Amire KSM Cistern Galleries. Different from the technical definition of ceramics, no work in the exhibition has been put through a firing process and beyond the physical-conceptual boundaries of ceramics as an object.

One of the teaching staff of Mimar Sinan Fine Arts University Faculty of Fine Arts Ceramics Department, Assoc. Prof. Aygun Dincer Kirca, in her last exhibition "Boundaries of Ceramics", has focused on seeking a form created by shaping the inner hollow of the object within a "limited form" of clay and where the invisible aspects of the object were featured with a constructivist approach beyond the well-known terra-cotta pots.

In the exhibition, the potential of the clay is taken at hand independent from all physical and conceptual limits faced during the creation of a ceramic object and unbaked earthenware and broken ceramic object fragments with fulfilled useful life are used as metaphors and thus no work in this exhibition was put through a firing process. While the artist sometimes was giving the undermeanings of her works she also was encouraging the audience to find their own inferences from these clues.

Exhibited in Tophane-i Amire Culture and Art Center's Cistern Galleries, the "Boundaries of Ceramics" will enable us to look at and see ceramic objects from different aspects. By the entrance of the place, the definition of the word "boundary" was being made and all the works have been created around these meanings of the word. Exhibition was leaving the works open to interpretation by naming them with word play texts that guide the audience and allowing for personal inferences to be made.

In the first left hall after the entrance; different from other halls, there were ceramic fragments that went through all firing processes and were discarded for having glaze mistakes etc. or being broken during the production phase. Some of these were exhibited on the wall inside/overflowing a frame by making a reference to the constructivism movement. As a limited form; shapes in a -terra cotta- pot silhouette that need to be emptied before firing, were with inner hollows shaped by paying attention to the compositional elements and exhibited on a turning platform. This way, the continuity factor has become visible which otherwise would be missed by the audience when turning around the form. Half-forms of which the back and front were worked on separately were encouraging us to look at (incidents, people etc.) from different points of view. Half-looking objects aligned on a "Line" were able to create different entireties with different points of view. The beginning form of the ceramic, meaning the clay and porcelain parts that are discarded now were exhibited side by side. The "Boundary" that separate these two materials, was becoming apparent depending upon the process/time.


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