HP: For the past two years, it’s been a process of back and forth between the analogue and the digital. I don’t mean this in the sense of an all-out entertainment experience, but there has to be something that the screen can’t provide.ĪWB: Can you tell me about the process of making a painting for you, maybe through one particular work? I think a great gallery exhibition is one that requires you to be physically present to fully grasp the ideas. I also catch glimpses of a lot of shows online. HP: I do visit exhibitions regularly when I can, yes. I strive to make art that reflects and comments on these observations without being literal.ĪWB: Do you go to exhibitions regularly? What have been some of the most interesting that you have been to recently? What, in your mind, makes a great exhibition – at a gallery, museum or independent space? I think through and interpret these ideas to make connections in an introverted manner. I absorb a lot of information regarding this theme, both in terms of theory and also through daily culture. ![]() I analyse how humans engage, react and adapt to developments in technology. I enjoy observing the world with an anthropological perspective. If it’s more recent work, I tend to skim over it because I’ve already overanalysed it and am not ready to confront it objectively.ĪWB: What kinds of places do you go to in order to think and find new elements of your paintings? Essentially does your process involve more of an introverted schematic, or are you more extroverted and outwardly gazing? Both instances allow me to look at my work more objectively, and analyse what it might mean to others. The same is true when I see it in a collector’s home. If it’s part of an exhibition, I look at the other work in the show and try to find the common thread that connects my work to the other ones. Outsiders see the end result, while I instantly see a scroll down of commands. It’s like looking at the source code for a web page or an interface. ![]() There is a very logical thought process to the way I make things and it’s interesting to remember all the details step by step. If it’s been a few years, there’s a suspension of belief where I think back to all the precise decisions I made at the time. HP: It depends on how much time has passed since I’ve made the work. This has particular resonance for me when looking at your work because it is abstract and symbolic, yet uniquely so. It’s a sound piece that mimics the voice of an elderly woman slowly articulating an amalgam of contemporary concerns that confronts humanity today.ĪWB: Does seeing your work outside the studio, in an exhibition or a home, change it dramatically for you? I’m interested in flexible interpretations here and how an artist’s initial impetus may become muted, or enhanced, by changing surroundings. For that particular work, I edited and reconfigured a selection of tweets from my collection. I have also taken part in AllGold at PS1, Museum of Modern Art, with a text piece. Other than that, I will be launching a set of inflatable light fixtures with Studio Voltaire in London for its Christmas benefit sale. It was an invigorating and refreshing experience. ![]() I met a lot of wonderful artists, curators and writers during my time there. HP: I recently returned from the opening of the New Orleans Biennial where I have five works on display. ![]() So, in a way, one could say that I still appropriate conceptually but not materially.ĪWB: What are some of the most exciting or engaging projects or exhibitions you have been a part of? Nowadays, these act as inspiration rather than a direct resource. HP: I’ve never lost interest in collecting images. Do you see yourself ever returning to a process of appropriating images and motifs? I’m very excited about these because I feel they unify my interests in tactility, generative composition and conceptual colour combinations, particularly in reference to everyday consumer objects.ĪWB: You’ve talked about moving away from the appropriated towards making your own, new language or symbols. Hayal Pozanti: I am working on a new series of paintings based on overlapping combinations of letters in my invented alphabet. Her work explores the relationship between new media technologies and the originality of the handmade through a vibrant yet meditative abstract pictorial language, conveyed through a unique alphabet of letters, or symbols, that Pozanti created.Ī Will Brown: What are you working on in the studio? Do you have new directions in your work, or exciting bodies of work coming up? Hayal Pozanti, who was born in Istanbul in 1983 and moved to New York in 2009, is an artist who works in painting, sculpture, collage and digital animation.
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