This exhibition to speak of natural argument of the sculptural discipline, which operates by ordering the surroundings or undoing what has been established; to express what has not yet been noted; and to determine the role which a sculptoral artist hews for himself within this praxis; these are only a few of the introductory pathways which this book seeks to present to the reader.
In Turkey, sculpture is generally seen as an abstract form of art which derives its references from its own internal structure and has no connection with its surroundings. Both artists and writers have long neglected to explore this art’s relationship with everyday language and the spectator, and to provide a clarifying description. No attention has been paid to the praxis of continually pushing sculpture into its own shell, which had a bad effect on its presentation in the public domain. Though not overtly stated, it was implied that sculpture, thanks to its three-dimensionality, has a privileged language and aesthetics. In this way the gap between sculpture and its spectators was made even wider. Within this closed system many points concerning the internal nature were left undiscussed: What is the difference between a natural, fortuitous, form and one that is given shape to and exhibited? What is the spatial problem being attached to sculpture, or on the contrary produced by it? Is it possible to say whether the size and form of a sculpture are an internal characteristic or part of its essence? Is it the sculptor - he or she- who discovers or generates what is not present to the eye? Apart from a few exceptions, this kind of question has not been addressed in the world of letters. The discussion which has taken place has been restricted to private conversations. This must be the reason for the inadequacy of the dialogue established by sculpture with the public.
