about


Evrim Ozkan Yazici is a ceramist based in Carouge, Switzerland and Istanbul, Turkey. 

She has received the Bruckner Foundation’s Bursary for young ceramists and completed her residency in 2021.

She has developed her technical knowledge and artistic approach while working at Michelle Dethurens’ ceramics studio between 2012-2019. As of October 2021, she has taken over the studio and continues to develop her artwork in Carouge.

Exhibitions:

- Fragments, 17-25 Sept 2022, solo exhibition, Galerie Kaolin, Carouge, within the Parcours Ceramique Carougeois 2022, 17th ceramics biennale, Geneva, Switzerland.

-Textures of Memory, 14.9 - 2.10.2022, Group show titled "Ceramic Skin" at Centre Culturel du Manoir, Cologny, Switzerland, as part of the 50th International Academy of Ceramics IAC Congress. 

- Collective exhibitions of Atelier Michelle Dethurens at April 2019, June 2015, and June 2013, at Halles de la Fonderie, Carouge, Switzerland.


You can contact her

through Galerie Kaolin
Avenue Cardinal Mermillod 18
1227 Carouge, Suisse

via email: evrimceramics@gmail.com
Instagram: @evrimozkanyazici
Facebook Page: Evrim Ozkan Yazici Ceramics



STATEMENT

Reflecting upon the architecture as a human intellectual and cultural construct that in turn shapes its very existence is at the heart of my ceramic work. The architectural elements such as doors, stairs, bridges or buildings interest me not only as forms but analogies of how we think. Owing to my civil engineering education and gender studies scholar background, I am always interested in architecture as a showcase of human beings' relentless intellectual power vis-a-vis their seemingly unlimited stupidity and cruelty. 

In my work, Dare 2019, I have looked at the dualities in our conceptual thinking such as private vs public, interior vs exterior, boundaries vs passageways as they are symbolized in and by architecture.

In my previous work, Reflections 2015, I have thought about 
how we construct our homes physically and metaphorically. By focusing on the form and consciously omitting any ornament, I wanted to reveal the true nature of the clay as an ancient and never exhausting material of human dwellings. Each piece is carefully constructed by hand with precision. This calculated approach contrasts with the rough inherent texture of the clay revealing once again the dichotomy between the nature and the culture.

The spaces and meanings created by the groupings of multiple pieces is an essential part of my work. I observe the hierarchy created by different sizes of the same form or search for the sameness in their seemingly identical nature yet the subtle differences between the pieces.