Sertac Tasdelen Art Initiative
Sertac Tasdelen Art Initiative is a contemporary art fund/collection that has been started in January 2022 by Vision Technology to promote art in our society, emphasize and support young artists.
As the centerpiece of our initiative, we have launched the contemporary art collection which will be preserved, developed and made available to the public through exhibitions and digital showcasing opportunities.
Sertac Tasdelen Private Collection (2022+)
As the centerpiece of our initiative, the contemporary art collection we launched in January 2022 will be preserved, developed and made available to the public through exhibitions and digital access opportunities by Vision.
The works in the collection will also continue to be borrowed by the world's leading art institutions and to meet the audience in exhibitions in different geographies. The collection will feature works produced in various media such as painting, sculpture, photography, video and film, installation, sound, light and performance.
In the collection, which focuses on telling the story of the development of contemporary art, art production in Turkey and the neighboring geography in a broad sense will be discussed in an international dialogue.
The Current Artist's in Sertac Tasdelen Private Collection includes; Ayşe Uluçay, Ahmet Doğu İpek, Ayşe Gül Süter, Günnur Özsoy, Mehtap Baydu, Yaşam Şaşmazer, Metin Alper Kurt, Candas Sisman and Çağla Köseoğulları.
Ayşe Uluçay, “I am not an Artwork” / Dilemma, 2019.
This work consisting of a two-part photograph is the complementary piece of the art project “Dilemma” that incorporates aspects of feminist theory, including the notion of male gaze by using the image of “hair” as a symbol in the formation of female identity.
Ahmet Doğu İpek, Fragments C.R II, 2018.
Known for his watercolor, ink and pencil on paper works, Ipek’s “Fragments” represents an aspect of the artist’s relationship with city and nature. The artist’s monochrome and contemplative style reflects his source of inspiration gathered from patterns, textures, forms and models.
Ayşe Gül Süter, “Pink & Purple III Sphere” / Spheres Series, 2022.
Integrating traditional and contemporary forms of art with technological and scientific concepts, this work exemplifies the core idea behind Suter’s “Path of Light” series. The unique pieces of reflective spheres are a performance that blurs the boundaries between art and light.
Günnur Özsoy, Untitled, 2022.
In her sculptures made with different materials such as polyester, brass, bronze and marble, Ozsoy seeks to convey a universal language. The artist focuses on organic forms in a philosophical discussion loitering between existence and emptiness.
Mehtap Baydu, Rabbit, 2021.
Baydu’s body cast selection featuring body parts is representative of her individual questioning of the body and soul dilemma. Where, in the body, does the soul reside? The bodies manifest as the motifs of soul in Baydu’s unique conception.
Yaşam Şaşmazer, Seed IV, 2021.
The artist’s watercolor work is the representation of intertwined human bodies and extensions of organic forms rooted in nature. “Seed IV” is the ominous interplay between nature and humanity, deriving from the idea of human intervention in nature.
Metin Alper Kurt, Untitled, 2022.
Kurt’s marble sculpture captures a holistic visual representation of stone artistry and instances outside of linear definitions of time. Turning hard materials into subtle and fluid forms of art, the artist emphasizes the notion of transformation.
Candaş Şişman, “Patterns of Possibilities V2.”
The installation piece is the product of a generative algorithmic process which assigns new dice values and cells and creates a random-relational pattern on the digital canvas. The unique pattern represents one of endless possibilities and urges the viewer to question the notions of time, order, probability and chaos.
Çağla Köseoğulları, ''Sky and Earth and Ten Thousand Things Were Born From the Dark. ''
Sky and Earth and Ten Thousand Things Were Born From the Dark establishes metaphorical connections with the exhibition A Bit Of Unruly Complexity's text and title. What can rule complexity is emptiness. In Western geography, it has a negative connotation, but in the Far Eastern perception and path, emptiness is not conceived as absence; instead it is a highly energetic perception that can revolutionize to make of space for what is.