ÇAĞDAŞ SERAMİK SANATINDA HASSAS DENGE

Year 2025, Issue: 53, 671 - 688, 30.11.2025

Ozan Bebek

https://doi.org/10.61742/sanatyazilari.1741477

Abstract

Bu makale, çağdaş seramik sanatında “prekar denge” kavramının kuramsal temellerini ve sanatsal yansımalarını disiplinlerarası bir perspektifle ele almaktadır. 21. yüzyılın sosyo-politik ve varoluşsal belirsizliklerini yansıtan prekarite, seramik malzemenin doğasındaki kırılganlık ve dönüşkenlikle birleşerek çok katmanlı bir ifade stratejisine dönüşmektedir. Çalışma, Judith Butler’ın ontolojik kırılganlık ve yeni materyalist kuramcıların (örn. Karen Barad) maddesel faillik teorileri ışığında, seçili sanatçıların eserlerini analiz etmektedir. Elaine Lorenz, Zemer Peled, Mendy Arp, Arlene Shechet, Ashwini Bhat, Li Hongwei, Yeesookyung, Annabeth Rosen ve Ozan Bebek’in eserleri incelenmiştir. Metodolojik olarak biçimsel, ikonolojik ve materyalist analiz yöntemlerinin bütünleştirildiği araştırmanın bulguları, prekar dengenin çağdaş seramikte yalnızca estetik bir tercih olmadığını; aynı zamanda toplumsal kırılganlıkları görünür kılan, izleyiciyle bedensel bir diyalog kuran ve malzemenin failliğini onurlandıran politik bir pozisyon olduğunu ortaya koymaktadır.

Keywords

Prekar Denge , Çağdaş Seramik , Kırılganlık , Malzeme Estetiği , Fenomenoloji

PRECARIOUS BALANCE IN CONTEMPORARY CERAMIC ART

Abstract

This article explores the theoretical foundations and artistic manifestations of "precarious balance" in contemporary ceramic art from an interdisciplinary perspective. Precarity, reflecting the socio-political and existential uncertainties of the 21st century, merges with the inherent fragility and transformative nature of the ceramic medium to form a multilayered expressive strategy. Drawing on Judith Butler’s theory of ontological vulnerability and the concept of material agency from new materialist theorists (e.g., Karen Barad), this study analyzes the works of selected artists. The works of artists such as Elaine Lorenz, Zemer Peled, Mendy Arp, Arlene Shechet, Ashwini Bhat, Li Hongwei, Yeesookyung, Annabeth Rosen, and Ozan Bebek are examined. Methodologically integrating formal, iconological, and materialist analyses, the findings reveal that precarious balance in contemporary ceramics is not merely an aesthetic choice but a political position that makes social vulnerabilities visible, establishes a corporeal dialogue with the viewer, and honors the agency of the material.

Keywords

Precarious Balance , Contemporary Ceramics , Fragility , Material Aesthetics , Phenomenology

References

• Arnheim, R. (2004). Art and visual perception: A psychology of the creative eye (New version). University of California Press.
• Barad, K. (2003). Posthumanist performativity: Toward an understanding of how matter comes to matter. Signs: Journal of Women in Culture and Society, 28(3), 801–831. https://doi.org/10.1086/345321
• Barad, K. (2007). Meeting the universe halfway: Quantum physics and the entanglement of matter and meaning. Duke University Press. https://doi.org/10.2307/j.ctv12101zq
• Bataille, G. (1985). Formless. In A. Stoekl (Ed.), Visions of excess: Selected writings, 1927–1939 (p. 31). University of Minnesota Press.
• Bauman, Z. (2007). Liquid times: Living in an age of uncertainty. Polity Press.
• Bennett, J. (2010). Vibrant matter: A political ecology of things. Duke University Press. https://doi.org/10.2307/j.ctv111jh6r
• Burke, E. (1990). A philosophical enquiry into the origin of our ideas of the sublime and beautiful. Oxford University Press. (Original work published 1757)
• Butler, J. (2009). Frames of war: When is life grievable? Verso.
• Douglas, M. (2002). Purity and danger: An analysis of concepts of pollution and taboo. Routledge. https://doi.org/10.4324/9780203361832
• Elam, K. (2001). Geometry of design: Studies in proportion and composition. Princeton Architectural Press.
• Foster, H. (2015). Bad new days: Art, criticism, emergency. Verso.
• Hall, S. (1996). Introduction: Who needs identity? In S. Hall & P. du Gay (Eds.), Questions of cultural identity (pp. 1–17). SAGE.
• Haraway, D. J. (2016). Staying with the trouble: Making kin in the Chthulucene. Duke University Press. https://doi.org/10.1215/9780822373780
• Ingold, T. (2010). The textility of making. Cambridge Journal of Economics, 34(1), 91–102. https://doi.org/10.1093/cje/bep042
• Krauss, R. E. (1981). Passages in modern sculpture. MIT Press.
• Kristeva, J. (1982). Powers of horror: An essay on abjection (L. S. Roudiez, Trans.). Columbia University Press.
• Lippard, L., & Chandler, J. (1968). The dematerialization of art. Art International, 12(2), 31–36.
• Lorey, I. (2015). State of insecurity: Government of the precarious. Verso.
• Merleau-Ponty, M. (2012). Phenomenology of perception (D. A. Landes, Trans.). Routledge. (Original work published 1945)
• Panofsky, E. (1972). Studies in iconology: Humanistic themes in the art of the Renaissance. Westview Press.
• Peterson, S., & Peterson, J. (2003). The craft and art of clay (4th ed.). Prentice Hall.
• Rancière, J. (2004). The politics of aesthetics: The distribution of the sensible (G. Rockhill, Trans.). Continuum.
• Standing, G. (2011). The precariat: The new dangerous class. Bloomsbury Academic.
• Tsing, A. L. (2015). The mushroom at the end of the world: On the possibility of life in capitalist ruins. Princeton University Press. https://doi.org/10.1515/9781400873548
• Wölfflin, H. (1950). Principles of art history: The problem of the development of style in later art (M. D. Hottinger, Trans.). Dover Publications. (Original work published 1915)
• Yeesookyung Studio. (n.d.). Translated vase series. Retrieved September 21, 2025, from http://www.yeesookyung.com