BERRAK KILIÇ

BERRAK KILIÇ (2000), eserleri Galeri Soyut arşivinde yer alan sanatçılardandır. Galeri Soyut sitesinde sanatçının 6 eseri ve 1 sergisi kayıtlı (eserlerin tarih aralığı 2025–2025). Sitedeki eserlerinde en çok görülen teknikler: Tuval üzeri akrilik boya. Eserleri hakkında bilgi ve fiyat için galeriye danışabilirsiniz.

Berrak Kılıç was born in 2000 in the Avanos district of Nevşehir. After graduating from Kardelen Science High School in 2018, she began her art education at the Mehmet Ali Doğan Art House. In 2020, she entered the Painting and Crafts Teaching Department at Niğde Ömer Halisdemir University; in 2022, she transferred to Gazi University, where she completed her education. Graduating in 2024, the artist was accepted into the Gazi University Graduate Program in the same year, where she continues her academic studies.
Alongside her academic career, Kılıç strives to remain actively involved in the production process of her artistic career. Selected events she has participated in include the Postmodern-Themed POMO International Mail Art Exhibition (2021), the Gazi Mail Art International Mail Art Exhibition "Freedom: Letters from the 100th Anniversary", the Association for Kemalist Thought 35th Anniversary and May 19 Youth Exhibition, Nurol Art Gallery "Transition" Group Exhibition (2024), Akdora Art Gallery "Young Faces of the Republic" Group Exhibition (2024), the 19th International Group Exhibition for the Protection of Turkish Culture, Art and Cultural Heritage (Cyprus), and the 5th International Group Exhibition of Arts, Culture, History and Folklore Events in the Balkans, Anatolia, Caucasus and Turkestan Geographies (Albania), among various other national and international group exhibitions.
Kılıç’s artistic production is shaped around dreams and subconscious processes. She supports her figurative and object-oriented compositions, inspired by dreams, with mythological elements and symbolic forms. In her works, she draws semantically on mythological elements—particularly the cultural infrastructure of Turkish mythology—and reflects them intensively in her work. With this approach, Kılıç draws upon surrealism, aiming to make destruction and repair in the subconscious visible through dreams. In these compositions, where imaginary imagery and the balance of tone and color intertwine, the artist directs her productions in line with the expressivist art theory. Kılıç’s works invite the viewer to an internal confrontation and an imaginary exploration within a space where individual consciousness and collective symbols intersect.