From Kilickiran’s studio
My practice relates to questions concerning the cosmogonic functions of non-binary terms such as magick, intuition and spirit, in a society that increasingly structures itself mechanically. I like to think about my workflow as a transmutable ectoplasm in installatory proportions. Mostly facilitating industrially dysfunctional sculptures, talismanic texts and drawings.
The way I like to create worlds by the images and things that I tend to create and surround myself with is through a suspension of reason. The initial stages of my workflow often occurs in the meeting with a place that initiates a feeling of it being a non-place; a ruin, a construction site, an infrastructure, a trace, a notebook or a hypnotists office. Where the premises for what constitutes the point of departure at that moment in time is being suspended and put in a parenthesis; altered into uncertain terrains of knowing.
A lot of my studio time involves developing certain exercises that help me "sense" images as fractals—looking for ways to generate images within images. Later in the process, I introduce these to mostly industrial materials, which themselves have pictorial qualities—like asphalt, concrete, lead, tin, and aluminium.
Creating Dark Entries
For Dark Entries, I wanted to explore paper, one of the oldest technologies known and the most recycled material in my studio. I aimed to find a new way of working with it, particularly in relation to a series of sigilised photographs that I’ve sampled and processed from public spaces. So, I moulded recycled paper into six sculptures in the shape of doorways, using a mixture of graphite powder and muscovite. These pieces are not only sculptural but also rich in symbolic meaning, acting as portals that invite the viewer to step into a different world, where internalizing unfamiliar patterns and images makes it possible to establish contact with an alien or a strange hidden aspect within ourselves.
It’s worth noting that this production would not have been possible without the support of OCA, which enabled me to purchase the necessary materials for casting the sculptures, as well as the pigments and the production of the moulds themselves.
International Support
From my experience, there is often little—or not enough—budget to cover the production costs, travel, and accommodation for artists participating in group exhibitions abroad. That’s why it’s so crucial to have arrangements like OCA, which make it possible for artists to exhibit outside of Norway. I haven’t exhibited much internationally, but in the past year, both OCA’s International Travel Support and Production Support have been absolutely essential for me. Their backing allowed me to participate in the installation period for the Yokohama Triennale earlier this year, as well as more recently, for the exhibition at Lund Art Gallery.
