Interview with Senur Akın Biçer, Chairman of the Board of Arnica

The third Arnica Art Land Workshop, aimed at preventing art from being confined to major cities and ensuring its spread across the country, was held in collaboration with the Kenan Yavuz Ethnography Museum at the museum located in Beşpınar village, Bayburt. The workshop, which took place from August 11-18 under the slogan “Art Flowing to Its Birthplace,” was attended by 11 artists from various disciplines. We conducted a comprehensive interview with Senur Akın Biçer, Chairman of the Board of Arnica, about the workshop.

–Hello Ms. Senur. What is the fundamental idea behind Arnica Art Land? What kind of experiences do artists have at the workshop?

–Arnica Art Land Workshop was created as a project to prevent art from being confined to major cities and to increase art literacy, in tribute to my late father Hasan Akın. During the workshops, artists create works in nature while also engaging in deep conversations filled with art, and there is a process of mutual interaction.

–How was the theme for this year’s workshop, held for the third time in Bayburt, determined? Is there a specific reason for choosing this theme?

–We do not actually determine a theme for the workshops. The participating artists produce works on themes of their own choosing. Sometimes these are concepts reflecting the artist’s inner world, and sometimes they are reflections of the nature we are in at the time. It entirely depends on the artist’s preference.

–What skill levels of artists were included in the workshop?

–In our workshop, we had the opportunity to meet with highly experienced artists from different disciplines, mid-career artists, and young artists who have just graduated from the Academy. There were artists from different generations.

–Can you tell us about the content and flow of the workshop? What took place?

–At the Kenan Yavuz Ethnography Museum, we started the day with a short walk around the area, followed by yoga. These activities strengthened our connection with the environment. Then we began working in selected spots within the museum. The changing light and colors throughout the day were very impressive. We also participated in activities to closely experience the local culture. We danced the traditional folk dance at the harvest festival and listened to Bayburt folk songs.

–What techniques or materials were used during the workshop?

–During the workshop, techniques such as oil painting on canvas, miniature painting, illumination, weaving, and painting on plexiglass were employed. Works were created in the aesthetic style of Japanese painting. Additionally, the production of root dyes from local plants and dyeing fabrics with these dyes created a festive atmosphere. There was a beautiful interaction among the artists. The root-dyed fabrics, t-shirts, and canvases also attracted significant interest from visitors to the museum. Some artists even used root dyes as materials.

–How did you decide on the theme “Art Flowing to Its Birthplace” for the workshop?

–As we reach out to contemporary art, we wanted to remember the art that originates from these lands and highlight this cycle and unity. We also recalled the Roman philosopher Seneca’s quote, “All art is an imitation of nature.” Thus, the motto “Art Flowing to Its Birthplace” emerged prominently as the theme of the workshop.

–The curator of the workshop was Fırat Neziroğlu, who has gained international recognition for his achievements in the field of weaving. What were the reasons for involving Mr. Neziroğlu in the workshop?

–I knew Mr. Neziroğlu beforehand and was familiar with his work. However, we first met face-to-face during an interview I prepared for our magazine, İthaf Sanat, for which I hold the proprietorship. His perspective on art, his projects, and the societal missions he has undertaken are very impressive. Therefore, I am very happy that he served as the curator for our workshop in Bayburt.

–How do you create an environment of interaction and collaboration among participants during the workshop?

–Some of the artists participating in the workshop already knew each other, while others met for the first time. Spending time together and producing art was a process that brought them closer. As everyone shared their experiences related to their own practices, younger generations learned nuances from the experienced mentors. They discussed the techniques they used and how they overcame material challenges. I am also very happy to have participated as an artist this year. I had the opportunity to be with valuable artists and to create together.

–What do participants gain at the end of the workshop?

–I believe that having a unique experience environment is very important. Artists provided the materials they would work with in advance, these materials were obtained, and they went through a process where they were alone with their work. During this time, new friendships were formed, and old ones were strengthened. The feedback we receive also indicates the rejuvenating effect of these workshops.

–What do you think is the impact of such workshops on the artistic development of participants?

–I would like to answer this question based on both my observations and my own experience. Workshops are events with time constraints. Therefore, it is important for artists to progress with a concept regarding materials and techniques in advance. Planning is necessary. However, art has such an effect that when you start working on a canvas or paper, something different from your plans might emerge. Workshops demonstrate this as well. Therefore, I think workshops, which can be described as events where we stay with ourselves and create an artistic atmosphere while making art, nourish participants in every way. Especially young artists value participating in workshops where they have the opportunity to meet with master names.

–You also organize exhibitions to share the results of the workshop with a wider audience. Can you provide information about the dates and locations of these exhibitions?

–Our works were first exhibited at the Kenan Yavuz Ethnography Museum. We plan to exhibit them in Mersin this November and in Istanbul this December.

–What role does this workshop have in your future plans? Do you consider repeating similar projects?

–As the Arnica brand, we will always continue to support art and artists. We also place importance on the continuity of our workshop. We have already started planning for next year. New places, other cities, and the rich culture of Anatolia offer us countless stops. We will continue our project with this excitement.

–What was the most satisfying aspect of this workshop for you? What would be the thing that makes you the most proud at the end of the workshop?

–The integration of artists meeting in a completely different geography and their excitement to learn about the region and add details related to Bayburt to their art was very impressive. While we were there, there was a meteor shower in the sky. The next day, it was amazing to see the impact of this event reflected in the works of all our artists in a way that suited their techniques. Being together with all the artists and sharing that excitement at the exhibition opening was a source of pride for me. I extend my heartfelt thanks to each of them.

Participating Artists:

Bilal Hakan Karakaya, Fırat Neziroğlu, İrem Sena Özen, Melike Kara, Prof. Dr. Mustafa Genç, Özlem Ketenci Çolakoğlu, Pınar Kuseyri, Pınar Tuba Biçmen, Senur Akın Biçer, Assoc. Prof. Dr. Şehnaz Biçer, and Tuğçe Diri.