My source of energy is sharing the excitement of my works with people.

Why painting?
To express myself, to share my excitement with people, and because painting is the only work that satisfies me.

I have always been interested in observing and exploring my environment. My observations and the desire to express them introduced me to art at an early age.

My first works originated from the desire to conquer the world. Although my knowledge of material and technique was limited, those attempts mean much to me as they kept me going at a time when I was weak and helpless. As I started to mature and come to terms with myself, I saw that I had to understand and define my emotions and the patterns to thought that generated them. I realized that the beauty of visual arts comes not only from a display of colors and light, but also from the expression of a thought or a feeling.

As time went on, I also realized that art searches for the perfection in nature. This realization, in turn, helped me see the significance of what I do, and art became my way of life and thinking, which also was a giant step forwards in my search for myself. I must also add that music and poetry also play important roles in my life as supplements to my work.

Art that is able to reach masses over the barriers of cultural differences and tradition is one of my main ambitions. My desire is to portray the common anxieties, problems, emotions of mankind, simple but important questions that comprise the basis of human life, in spite of religious, ethnic and linguistic differences. I want to reach out to people of different cultures and to make them think through the use of symbols, colors and shapes.

Communication between the artist and the viewer comprises two stages. The first stage is an understanding of the artist's ideas and emotions through his work. (The degree to which the viewer completes this understanding depends both on the achievement of the artist and on a knowledge of his life and personality). The second stage is one of introspection, where the viewer finds something from his/her life within the work of art, thinks and hopefully reaches a higher dimension of awareness.

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This process of growth goes also for the artist, who surpasses himself with every new work. The absence of personal growth and its reflection on art will only result in self-repetition.

Another very important factor to keep in mind in this process of growth is to be a strict disciplinarian and to use time and energy in the best possible way.

Generally, my paintings first take shape in my mind, I then transfer them into my sketchbook and finally on to the actual surface of application. I use acrylic paints and coloring pens of different bases. I usually work on large-scale canvases.

Where exactly does art recognition stand in Turkey?

There are gallery owners, painters, curators, art critics, art consultants that long for and contribute to the development of art in Turkey. However, without an art museum, I do not believe we can achieve much. The young generation is also very interested in fine arts.

The transition to fine arts in Turkey seems to be later than it was in Western countries.

Actually, considering our traditional handicrafts, metal workings, ceramics, and miniature, we are a society for whom art has always been a part of daily life. I do not believe Turkish art would be at the state it is now if our society had approached fine arts rigidly. The reason for painting to be considered non-existent was the long-lasting alienation of the Ottoman Empire from Europe. However, in no way can fine arts in Turkey be considered behind the times. We are even lucky in a way, because Turkey is a country with problems. It is impossible to live in the midst of these problems and not be nurtured by them.

Do you have a major project in mind?

I have focused my efforts on bags for quite a while. These bags are created by painting leather directly or by sewing them out of finished canvas paintings. The main point is that they are unique; there exists only one of each bag. Thus, it becomes a personal art piece, just like a painting. I would like to sell my bags internationally. I am working on this personally these days. Also www.lebrizshop.com (soon to be linked to www.lebriz.com) will exhibit and sell these bags. www.lebriz.com is the fine arts portal of Turkey where an artist or gallery owner can become a member and put on on-line exhibitions.
I would also like to turn a building into a painting; this could perhaps be a skyscraper. This is an idea that will incorporate the support and involvement of society and will enable them to be a part of it. Of course the main goal is for art to be noticed and to gain respect in Turkey. Art should be recognized because it is there to make people think. A person who thinks makes fewer mistakes; therefore, art is very important for the development of a society.
My main personal goal is to have a big house one day and turn it into a living museum; to invite people while painting and to answer their various questions about art and the artist.

What is the main source of your creativity?

I believe everybody is in search of an occupation to express himself and to add meaning to his life. I am an artist because this is the only work that makes me happy and enables me to express life in my own terms. I believe an art piece looks for perfection in nature. We look for art in nature's equilibrium. A person gets his strength from nature, from his beliefs, and from his feelings. My main source of energy is sharing the excitement of my works with people. This is what is important for me. Art does not have a material equivalent. A person who looks at a painting and gets excited motivates me, satisfies me as an artist. I get this sort of energy more from my peers than from older viewers, who seem to approach my work more conservatively.

Are you interested in other art forms?

I believe designing will be the main trend of this century. The developments in technology will lead us to products designed for individuals. The line between art and designer will disappear. Unique art objects will be as precious as paintings. For this reason, I will continue to work with objects and functional products.

How close to painting are the other art forms that interest you?

Actually, I have already given the answer to this question. The significance is its uniqueness. Thus, you can convince the viewer that your product is a piece of art. The danger here is that the viewer can accuse you of being insincere. This is why it is necessary to define and express the intent well.

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Your paintings do not have names, why?

I prefer to give code numbers to my paintings. This is for you to be left alone with the images, colors and forms you see as you face the painting. For example, if I name a painting "pear", I would prevent you from thinking of it as an apple. My paintings do not have names because I do not want to interfere with the viewer. There should not be anybody between a painting and the viewer. Looking at a painting is like believing; you look through your own eyes, you perceive through your own eyes, the artist does not exist there, you interpret and discover according to your own background. This is where all the pleasure is.

Do shoe-cabinets symbolize anything?

I think that shoes symbolize a person's character and that shoes and bags have a special place in everybody's life. You might consider someone who is fond of shoes to be somewhat detail- oriented. But somebody may be interested in a shoe because of how comfortable that shoe is or merely because of its visual quality. And you can keep your precious shoes in a three-dimensional piece of art: the last piece of furniture you see as you leave your home and the first you see as you enter it.

You also paint suitcases, shoes, chairs, plates, mugs, and wallets.

The emotional relationship between a piece of art and the viewer is of primary significance, because art is not about "understanding", it is rather about "feeling". To illustrate, one has to look at a painting the same way he looks at a cloud. Do you enjoy watching clouds? Well, then, what do you understand?.. Given the need to "feel", one sense that allows feeling is denied for paintings: they cannot be touched. Objects, on the other hand, can be touched. Today, a wide range of people foster special feelings towards objects such as shoes, cups, bags, chairs, or wallets. I paint such objects to reach those people.

Are there other artists who produce similar works?

Not that I know of. There are many artists who paint furniture; however, they do not call their works "functional art". My work also incorporates design, not only painting.

Does switching from canvas to functional objects limit your creativity?

"Inspiration" is all about concentration. Since they are produced only in limited numbers, the emphasis is on concentration. There is no problem once you have that.

What is your style and how does it reflect you?

I have a style that was there when I first started painting and matured in time through self-awareness and hours of sketching. Some artists' paintings reflect their joy of life, some are more pessimistic. Colors reflect one's view of life and art reflects a person's soul. The colorful and lively character of my paintings is a result of the joy I feel to be alive, the fact that I have a positive disposition. The forms, though, change all the time and they should. There is no end to the variety of forms in nature. New thoughts and ideas are forever changing the forms. Excitement, dynamism, joy, hyperactivity are imagery that appear in my paintings. I experience storms in my mind; this is difficult to define. Painting is intertwined with my life. The bottom line is that my job is about esthetics and I am nurtured by everything that is related to esthetics. People, forms, sketches, and most importantly nature. I collect all these facts, process them through my interpretation and create something. Every painting is a world of its own. I paint different but interrelated paintings. I do not want to repeat myself and paint one image throughout my life.

How much do you believe in various trends that appear in the decoration sector?

I do not believe there is one single trend that has marked our times. They are all intertwined. Minimalism influenced fashion and design in the near past. But there is no limit to decoration anymore. I believe individuality is the crucial factor.

What does New York mean to you?

Art is business in New York. Professional companies, agents, art dealers, art material suppliers, many other institutions and galleries are in a race in this market. I do not think there can be an artist who would not want to be a part of this market. In New York where it is an honor to own an art collection, people are aware of how important art is through museums that are always on the public agenda. They prefer to invest money in adorning their buildings with pieces of art rather than with marble. This is a part of their culture; they are interested in art the way we are interested in full-automatic washing machines in Turkey. In such an environment, an artist feels that his work is considered precious and this is motivating. My goal is to sell something from Turkey to such buyers. I plan to spend my life partly in New York and partly in Istanbul. I love Turkey and my people. However, you have to look at what is happening in the world, too. Artists have problems finding buyers for their works in Turkey. There are different speculations in effect. Ideally, people should look at an art object or a painting and take it home if they like it, and if they can afford to do so. However, there are commercial concerns in Turkey. A piece of art is thought of as a means of investment. Will this artist be recognized, is the value of the painting I bought going to appreciate, concerns like that. Painting remains one of the last criteria the buyer is concerned about.

Do you believe there will be changes in your style?

Yes, certainly. I will be creating different pictures when I get to be 50. Basically, I am always on the outlook for new things. My problem is to surpass myself, to create anew; new colors, new tones, new forms.

Is it true that you would like to be a "man of the world"?

This should be the goal for all of us and Turkey can be promoted best this way. This should be the main goal of not only an artist but of any entity, for instance a company that produces machinery. "Bosch" reminds us of Germany. We should create brands that remind others of Turkey.

Bibliography

Revna Güney. "Enthusiastic Interpretations in Functional Art," in Maison Française. (December, 2001).
"Yigit Yazici - Reflection Of The Artist's Soul Can Be Felt In His Sketch Book" in Elele. (December, 2001).
"Yigit Yazici - Painting and Functional Art Exhibition," in Hürriyet. (November 16, 2001).
Evrim Altug. "A Size 8 Art Piece," in Radikal. (November 30, 2001).
Yasemin Sener. "Yiğit Yazıcı; Art Is Not About Understanding," in Elle. (March, 2001), pp. 68-72.
Elvan Erdin. "Lucky Shoes in Functional and Esthetic Cabinets," in Marie Claire. (November, 2001), pp. 115-119.
"Furniture Desing: Painting, Furniture and Shoes," in Tasarim. (December, 1998), pp. 127.
Elif Babül. "Portrait - Art Out of An Object," in Vizyon. (August, 2000), pp. 119.
Günnur Özsoy. "Portrait - Yigit Yazici," in Home Art. (June, 2001), pp. 110-115.
Sebnem Atilgan. "I Need A Shoe Cabinet - Yigit Yazici," in Topuk. (May-June, 1998), pp. 36-37.
Necati Baskir. "Hiding Shoes in Beauty - Colorful Spaces For Shoes," in Country Homes. (July, 1998).