Bant Mag’s 15th year anniversary exhibition

2019 was Bant Mag‘s 15th year in publishing. I started to make illustrations for Bant Mag in 2006. I was 22 years old when my first illustration was published. We worked in multiple projects together over the years and we still do.

Bant Mag was the first magazine in Turkey that cherished illustration and gave space for local illustrators in their pages.

I’m happy to be part of their journey.

The exhibition was between 25th of October till the end of November, 2019 at Bina Moda.

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contemporary istanbul 2019

4 of my works were shown at Contemporary Istanbul 2019 Art Fair with Halka Art Project. The Fair was between 11- 15 September.

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Myths and Dreams

“Myths and Dreams” is a modest tribute to Anatolia’s infinitely rich cultural patrimony, featuring works by contemporary artists living in this region of the world and about its places with an ancient past or mythological imagery. The exhibition emphasizes that we inhabit a universe of images where yesterday and today come together on one single plane, and that our cultural heritage is not an abstract entity independent of our present. With a particular focus on Anatolia’s memory lane, it allows us to look at the legends as our collective consciousness connecting us to each other.

Two of my works were selected for Myths and Dreams exhibition curated by İpek Yeğinsü. The exhibition was between 5 July- 5 September at Kıraathane 24.

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AllinOne ’01

Two of my works from the series I Wonderland were exhibited in All In One PopUp Show at Gallery Bu Pavillion between 15 June- 15 July

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Under the Water

Three of my works were exhibited at Mixer Printed exhibition under the title “Multiple Choice” curated by Marcus Graf between 11 April- 1 June.

Symbiosis, Archival Pigment Print, 60 x50 cm, ed. 30 + 1 AP, 2019
Under the Water, Archival Pigment Print, 60 x50 cm, ed. 30 + 1 AP, 2019
Symbiosis II, 3d print, ed. 10 + 1 AP, 2019
photo credit / Nazlı Erdemirel
photo credit / Nazlı Erdemirel

eng. The works titled Symbiosis and Under the Water are following each other. These works focuses on the concept of growth and the progress of time. The thick lines used in the work Symbiosis and the image of the girl who is about to integrate with the water are transformed into a young woman with lines getting thinner in the work Under the Water. Where she releases the creatures belonging to the water that she was bound to in Symbiosis and opens a space for breathing under water. Thus it shows us that it is possible to be free from the past ties and become an individual with the progress of time even the shadows of the dark moments and symbiotic ties still exists within.

tr. Sergilenen Simbiyoz ve Suyun Altı başlıklı işler birbirini takip eden çalışmalardır. Bu çalışmalar büyüme olgusu ve zamanın ilerleyişi üzerine yoğunlaşır. Simbiyoz’da kullanılan kalın çizgiler ve suyla bütünleşmek üzere olan kız çocuğu imgesi Suyun Altı’nda incelen çizgilerle genç bir kadına dönüşür. Simbiyoz’da bağlanmış olduğu suya ait canlıları serbest bırakır ve kendine suyun altında, suyun olmadığı; nefes alabileceği bir alan açar. Böylece karanlık anların ve simbiyotik bağların gölgesi üzerinde kalmış olsa dahi zamanın ilerleyişi ile birlikte kişiyi gerileten bağlardan arınmanın ve birey olabilmenin mümkün olduğunu bize gösterir.

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Büyükdere35 PopUp

Window Mural for Büyükdere35 Popup at Tomtom Designhood

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festival of insignificance / kayıtsızlık şenliği

Curated by Bahar Güneş and Öykü Demirci Festival of Insignificance exhibition was held between 10 March-14 April at Halka Art Project, Istanbul. Six of my works from the I Wonderland series were selected for the group show.

halka sanat projesi brings together the paintings, photos, videos and poem installations by Baysan Yüksel, Cins, Çağrı Saray, Didem Erbaş, Doğu Çankaya, Horasan, Işıl Eğrikavuk – Jozef Erçevik Amado, İpek Çankaya and Murat Germen, in the exhibition titled “Festival of Insignificance,” curated by Bahar Güneş and Öykü Demirci. “

“We’ve known for a long time that it was no longer possible to overturn this world, nor reshape it, nor head off its dangerous headlong rush. There’s been only one possible resistance: to not take it seriously.”                                                                                                                                                MilanKundera 

“Insignificance is cynically associated with the concepts of disinterest, disregard, indifference and laxness. In his novel “Festival of Insignificance” Milan Kundera refers to another power of the words: “Insignificance is more powerful than mockery, satire, and sarcasm.” This quote can be understood as follows: To be indifferent to something, someone, or any particular situation is to question their existence. Even though it is perceived as a passive questioning at first sight, this attitude has a bigger impact than any reaction possible, even than the most violent ones as being indifferent to something means ignoring it. It means derogation of the power one has and declaring it null and void. Each statement exists as long as they find a subject for themselves and as they are responded. In this sense, insignificance deprives the opposed of existence and power.  In this day and time, insignificance as a way of resistance represents another meaning in the structures where the distinctive presences are lost, standardized crowds increased, any type of violence is normalized, different cultures lost their borders, the people differing from the majority are marginalized. In the exhibition “Festival of Significance,” taking its title from Milan Kundera’s novel, insignificance does not mean to come to terms with the age we live and have created together, integrating with it and living without questioning. On the contrary, it means seeing what is negative and seeking out what is positive. It means to mark one’s own point of view with the inspiration of the good rather than an escape plan. It means to develop your own responses and ignoring what is ongoing no matter how much it looks extensive and accepted. It means a war against any circumstance in which the individual loses faith in the possibility of a better world, and in the eternal condition of being and existence, and against any situation that prevents self realization and subjectification.  The artists, invited to “Festival of Insignificance” reveal their methods to take and not take the life seriously, and their insignificances with their solutions in the worlds they live and observe. The exhibition takes the space where personal stories and humanly and vital reactions such as disappointment, struggle, hope and resistance clash with any kind of power as a benchmark and examines the artistic responses to ways individual or collective existence based upon the questions, searchings and inspirations regarding this world. The exhibition featuring artists who have different approaches and answers to the time and environment they live in, brings together their political, poetic [and] or humourous languages of expression regarding hope  with the intension to create a holistic narrative. “

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Sanatçıdan Sanatçıya

tr 8-12 Ocak tarihleri arasında Büyükdere 35‘te Bazaart projesini desteklemek amacıyla düzenlenen aralarında benim de yer aldığım 60’tan fazla sanatçının işlerinin sergilendiği Sanatçıdan Sanatçıya sergisinin açılışından bazı kareler:

eng Photos from the opening of the pop-up show Sanatçıdan Sanatçıya at Büyükdere 35. 8-12 January 2019.

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Limbs Unknown / Solo Show

Curated by Marcus Graf my latest solo show was at
Büyükdere 35 between 26 September- 10 November 2018

eng In this world, where we have difficulty in understanding how the time passes, the troubles we suddenly feel, and the anxieties we develop with the feeling of dread triggered by the efforts for finding a place in life are the concepts the exhibition “Limbs Unknown” deals with. Baysan Yüksel’s insight, “survival mechanisms we develop during the evolutionary process is triggered unexpectedly, and we become our enemy” constitutes the conceptual frame of the exhibition. Paintings resembling the sequences from dark tales, and the projection of personal and social face downs are described with an octopus, a species who has complete different feelings than humans. The artist, associating the flexible and polydactyl anatomy of the octopus with the unknown feelings, correlates temporary feelings with the wind, whereas linking fragility with the water. The exhibition titled “Limbs Unknown” centers upon the state of astonishment triggered by the anxieties.

The exhibition focuses on making the viewers remember and feel the short moments where the emotional burden is felt as a result of the triggered unknown and untraceable anxieties by freezing them. 

tr Zamanın nasıl akıp gittiğini anlamakta zorlandığımız bu dünyada aniden içimize doğan sıkıntılar, hayatta yer bulma çabalarının tetiklediği dehşet duygusu ile büyüttüğümüz kaygılar ”Bilinmeyen Uzuvlar” adlı sergide Baysan Yüksel tarafından “Evrimsel süreçte geliştirdiğimiz hayatta kalma mekanizmaları, tuhaf anlarda tetiklenip bizi kendi kendimizin düşmanı haline getirebiliyor.” İçgörüsüyle” ele alınıyor. Karanlık masalların sekanslarını andıran pentürler, bireysel ve toplumsal yüzleşmelerin iz düşümü. Bu duyguları, insana en uzak türlerden biri olan ahtapot figürüyle betimliyor. Esnek ve çok uzuvlu anatomiye sahip olan ahtapot, yaşadığımız bu hislerin değişkenliğini ve bilinmezliğini sembolize ediyor. Rüzgar ile duyguların uçuculuğunu, su ile kırılganlığı anlatıyor. Yaşanılan kaygılardan dolayı oluşan donakalma anına vurgu yapıyor.

Bilinmeyen, izi sürülemeyen bir kaygı tetiklendiğinde oluşan duygu yükünün hissedildiği mikro saniyelik anları dondurarak izleyiciye yeniden hatırlatmaya ve hissettirmeye odaklanıyor.

Artful Living Röportajı: Yetişkin Olmak Zorunda Kalan Çocuklarız Hepimiz

Art Unlimited Röportajı:Kaygının Temsili


Grey Eyes / Gri Gözler, 40 x30 cm, Acrylics on Canvas, 2018

The Wind / Rüzgar, 110 x140 cm, Acrylics on Canvas, 2018

Elephant Shoe, 120 x90 cm, Acrylics on Canvas, 2018

Deep Water / Derin Sular, 120 x100 cm, Acrylics on Canvas, 2018

The Curtain Inbetween a.k.a Light as a Feather Stiff as a Board / Aradaki Perde a.k.a Tahta Gibi Sert Tüy Gibi Hafif, 120 x160 cm, Acrylics on Canvas, 2018

Sarı / Yellow, 25 x35 cm, Acrylics on Canvas, 2018

Protecting the Rock / Kayayı Korumak, 40 x30 cm, Acrylics on Canvas, 2018

Bathysphere / Batisfer, 50 x 70 cm, Acrylics on Wood, 2018

Night Sky / Gece Göğü, 60 x 50 cm, Acrylics on Canvas, 2018

House / Ev, 100 x 100 cm, Acrylics on Canvas, 2018

Waves / Dalgalar, 32 x24 x35 cm, Mixed Media, 2018

The Red Thread / Kırmızı İp, 45 x90 cm, Acrylics on Canvas, 2018

Heart / Kalp, 50 x35 cm, Silk Screen Print, ed.50 + 1AP, 2018

12 Deep / 12 Kat Derin, 35 x25 cm, Acrylics on Canvas, 2018

Waterfall / Şelale, 60 x40 cm, Acrylics on Canvas, 2018

Blue Butterfly / Mavi Kelebek, 90 x120 cm, Acrylics on Canvas, 2018

White Flowers, Pink Flowers / Beyaz Çiçekler, Pembe Çiçekler, 100 x70 cm, Acrylics on Canvas, 2018

From The Opening Night:

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ayin saçlı kadın

Arkaoda Kasım posteri de benden geldi (: / Poster illustration for Arkaoda for Nov.

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