In her recent works, Erden virtually leaves her figures in the void, displaying them beyond their usual time and space. She narrows their dimensions using monochrome colors. The figures, which have been rid of their elbow room, and imprisoned in positions that living creatures are able to assume by their physical features and yet cannot be maintained, evoke in the viewers ambivalent feelings of admiration and reservation. The viewers are invited to physically experience their presence; they may become hesitant while deciding whether to come closer or get away from these figures.
Hence, two identical lying cows removed from their natural environment and mounted on the wall as a reflection of each other, a dog appearing in an upside down pose when it was playing or being petted; and a person who has been frozen and left in the void, caught in the act, while attempting to sit; seeking each for an indeterminate comfort while being in improbable poses, they all turn into pointless stains or masses.
As Erden unveils in an elaborate manner all the uncomfortable and vulnerable aspects of these postures that she shapes out of clay transformed into highly resistant composite material, she creates the ambivalent idea that these postures can be maintained. The dynamic modelling, light and shadow movements on the surface, and the tension in the angles bear a vigour that stands in sharp contrast to the frozen postures of the figures.
Burcu Erden’s wooden human figures center on loss of function / making devoid of function. In her triptych, through which she investigates the role of scale in the construction of the meaning of a sculpture, Erden gives her spectators a clue as to the sculptures’ positions against the situation that they face, this clue being the enclosed composition in which the figures are formed and the height of the figures, which is below eye level. The black lines left behind from the work process combined with the texture on the surface of the material denote the malfunctioning mechanism, the loss of function, and breakdown. Adopting a fictional approach while molding the figures, their plastic features further increase the distance between fiction and reality.
200 x 62 x 62 cm
200 x 58 x 58 cm
295 x 230 x 98 cm