HATİCE YAZICIOĞLU GÜRLER

İNSANIN EN SAHİCİ EŞİĞİNDE BİR MALZEME SORGULAMASI: "VİCDAN VE VİCDANIN KABUĞU"

Galeri Soyut / Çankaya is hosting ceramic artist Hatice Yazıcıoğlu Gürler's 15th solo exhibition, titled "Vicdan ve Vicdanın Kabuğu / Conscience and the Shell of Conscience", from June 19 to July 8, 2026. The opening reception will be held on Friday, June 19, between 18:00 and 20:00, bringing together an impressive selection that reflects the artist's 35-year deep-rooted bond with clay and translates the concept of "conscience"—humanity's most plain and authentic existence—into the aesthetic language of forms. Featuring the artist's recent explorations in porcelain and ceramics, this special exhibition invites all viewers who wish to discover the breaking points between emotion, form, and color to this intellectual and sensory experience in Hall C of Galeri Soyut / Çankaya.

The exhibition transforms "conscience"—an abstract concept too complex to be reduced to a single definition—into tangible areas of inquiry through the plastic possibilities offered by ceramic material. For the artist, conscience is that shattering breaking point where reason withdraws and emotions become visible, where darkness evolves into light. The rich color palette coming to life on the surfaces of the works maps out the depths of this inner world: Blue as the carrier of deep emotions, green as the symbol of transformation, purple whispering a lonely sorrow, orange as the color of enthusiasm, brown as the texture of timelessness, and white representing moments when purity is set into motion... "The Shell of Conscience", with the rhythm of these colors and layers, points to that initial moment of breaking, that is, the pure and unique threshold where a person confronts their own inner voice.

Hatice Yazıcıoğlu Gürler, who has conversed with clay, struggled with it, and virtually translated the language of the material since graduating from Trakya University, Department of Ceramics in 1991, presents a material manifesto in this exhibition. Investigating that delicate borderline between fragility and durability through the porcelain forms she has focused on in recent times, the artist displays a conscious stance against industrial smoothness. The organic traces, textures, and intentionally left flaws on the surfaces of the works confront the viewer as plastic memories of mistakes, shortcomings, and lived experiences within life. Thus, each artwork in the exhibition goes beyond being merely aesthetic objects, becoming an inner voice, a testimony, and a timeless space of memory.