A Masked Ball

Social hypocrisies, twisted norms of the modern age, and silent confessions that hide behind all of it…While we hassle through İstanbul’s chaos, we tag along after a stray cat down one of Kadıköy’s old streets and find ourselves as guests in Ali Elmacı’s studio.

The objects inside seem to tell us that life is filled with what we don’t expect, rather than what we hoped for; some embracing the form of a painting to tell its story while others seek to manifest themselves as sculptures. Collectively, it is a space where topics that even society hesitates to address with itself are openly displayeda familiar yet strangely foreign depiction of the world. Ali states, “My characters are usually cheerful, colorful, and even glamorous on the surface… But deep down, they symbolize hypocritical individuals defeated by societal norms.” Accompanied by the melodies of 90s rock emanating from inside, we too become part of this masquerade. Only one question remains: Which face of ours will we come across under this surface?

YANKI How would you describe the creative persona and art of Ali Elmacı to someone who is yet to be introduced?

ALİ I often critique human hypocrisy, consumerism, power dynamics and obsession with status through cultural symbols and popular imagery. In doing so, I draw on various disciplines, primarily painting, sculpture, photography and video.

YANKI How influential is cultural heritage in shaping the visual narratives you create?

ALİ I try to create a language of expression by blending traditional values and cultural symbols with the conflicts of modern life. Thanks to this, cultural heritage becomes not just a relic of the past but turns out to be a dynamic element that sheds light on contemporary issues and sets the audience thinking instead. Thus, cultural heritage in my work remains both a space of belonging and critique, becoming a structure that encourages the audience to question their own belongings.  

YANKI You are defining your work as “depicting the ugly”. What is the origin of this criticism towards popular culture? How do social and individual situations turn into such a striking story?

ALİ I define ugly as ‘everything that involves human’. Social and individual hypocrisy lies at the heart of my work. I draw inspiration from popular culture’s tendency to mold people into stereotypes and individuals striving to behave as they are ‘supposed to’. While satirizing the value society places on aesthetics, success, and wealth, I also try to reveal the inner conflicts these values create within individuals. My characters are usually cheerful, colorful, and even glamorous on the surface… But deep down, they symbolize hypocritical individuals defeated by societal norms.

YANKI Your artistic expression advances on a range from painting to sculpture and even video. Can you tell us about the creative perspective that drives a painter to explore different media?

ALİ Different mediums allow the artist to communicate their story across a broader range. Essentially, exploration of each medium stems from the desire to experience its unique possibilities and limitations. Every new medium offers the artist a chance to expand their freedom of expression, explore topics from different perspectives, and evoke diverse emotions in the audience, continuously transforming their artistic expression.

YANKI “Alienating the familiar” is in the center of your narrative. Let’s talk about the creation process of this feeling in your works. How does this feeling materialize?

ALİ Basically, this feeling of ‘uncanniness’ can be achieved by surprising the audience and building a new perspective through familiar images. I’m striving to objectify familiar symbols, common objects, and cultural references, interpreting them through their inner contradictions. I try to create my compositions by redesigning popular images or ordinary elements of daily life in grotesque, exaggerated, or humorous forms—merging the traditional with the modern, the sacred with the mundane, even the beautiful with the ugly.

“I define ugly as ‘everything that involves human’. Social and individual hypocrisy lies at the heart of my work.”

-Ali Elmacı

YANKI We often come across human form in your work. Do you see humans as the primary tool for social criticism? 

ALİ Human figure is not a must for me but using it as the primary tool for social criticism allows me to create a direct bond with the audience. Having the audience question their own existence is an effective way to make the thin line between social values and individual identities visible. Thus human form serves both as the messenger of the critique and the bridge that conveys the message to the viewer. In this sense, I don’t shy away from using it. 

YANKI The bold colors and symbols inherent to your work virtually create a confrontational atmosphere. What kind of an emotional and intellectual state do you imagine the observer to be in? Is there also a challenge in there?

ALİ No, there’s no challenge there. Definitely not necessary but I’d like the narrative of color and symbols to cause the observer to engage mentally instead of just viewing and passing by, and I’d like to leave the outcome of this engagement to them completely.

YANKI How does being understood translate into your production?

ALİ Actually it is related to the answer of the previous question. Being understood doesn’t mean that the viewer deciphered my message completely; it’s rather about creating an opportunity for them to question their own emotions, values, and social perceptions. I consider myself lucky if I can even get a whiff of achieving that!

YANKI What would we be listening to now if your art had a soundtrack?

ALİ That’s a pretty tough question, but it might be: “The Good, The Bad and The Ugly — Ennio Morricone.”

YANKI What’s next? Where does one go after pushing boundaries to this extend?

ALİ According to my schedule, my seventh solo exhibition, We’re All Vampires Except One of Us, will be at Pilevneli Gallery in April.

As for boundaries, the lines that make them up are like the waistband of panties… Very tight at first but since they are flexible for stretching and relaxing with use, they are bound to expand. I don’t know where one can go from here but I’m certain that they will keep on going relentlessly.

From Based Istanbul N°44 – Confessions Issue. “World is basically a “dynamic” mess of jiggling things. You need to confess your messy parts first.” Buy your copy now!

Creative Direction by Duygu Bengi

Interview by Tunga Yankı Tan

Photography by Umutcan Öncü