Credit for all photos: Clare Yow

From left to right, top row: Voting Hand, Esophagi, Aphasias, Bowels (Organs with and without Body), Hands Holding Aerogels; bottom row: Bowels (Paragraphs), Voting Hands, Refraction, Rehabilitations, Bowels (Paragraphs)

From left to right: U, M, A, R, I, M, İ, Y, İ, S, İ, N, D, İ, R on Quadrants (Clockwise); U, M, A, R, I, M, İ, Y, İ, S, İ, N, D, İ, R on Quadrants (Counter-Clockwise); Conversation Set on Spiral; Conversation Sets on Spiral; Conversation Set on Spiral; Conversation Set on Spiral

From left to right, top row: Voting Hand, Esophagi; bottom row: Bowels (Paragraphs), Voting Hands; bottom row: Bowels (Paragraphs), Voting Hands

Voting Hands



Detail from Rehabilitations

Detail from Bowels (Paragraphs) 

Detail from Voting Hands

Detail from Bowels (Paragraphs)

Young Ferns on Grid

Young Ferns on Grid

Conversation Set on Spiral 

Conversation Set on Spiral

Experience Class
the fifty fifty arts collective
May 24 - June 16 2018

Please see individual work titles under image captions.

Indigo plant dye on paper
Approx. 22 x 30 inches
2017 - ongoing

Ink monotypes on paper
9.5 x 11 inches
2017 - ongoing

From exhibition catalogue:
“What to do with the intense human desire to relate to the other, in a world where certain modes of relation have been co-opted into the order of the knowable? Is it possible to build a political discourse around the notions of care and hospitality for the other when there is a demand on bodies to focus on their projected self-preservation? Works in this exhibition search for ethics of agency within existing and abolished frameworks of care, solidarity, hospitality, accountability and perpetuation. The eruption of Gezi protests in Turkey in May 2013 and the unfolding of a variety of civil and state tactics that continually ask for the reorganization of boundaries between collective and individual, symbolic and actual, risky and stable; “becoming a mother” and being placed in a general economy of maintenance as well as caring for a singular creature who has found itself suddenly gravity-bound; and the slow, ongoing evolution of the animal gut neither towards the mouth nor the anus; are among many of the processes that have influenced the motifs in the exhibition. These motifs— a collection of items that share affinities with but don’t entirely correspond to memories, metaphors and design components in Damla’s practice— unevenly spread across the works.

A series of monotypes combines an accumulative drawing process with the instant act of pressing down to make the prints, featuring motifs formalized in repeated spatial configurations: young ferns on grids; conversation sets on spirals; i, h, o, p, e, y, o, u, a, r, e, w, e, l, l on quadrants.

The exhibition also features large scale drawings made with dyes of various concentrations and states of exhaustion as well as inactive solutions prepared from the indigofera tinctoria (the “true indigo”) plant. Drawings are produced with a combination of vertical actions (dip-dyeing, dripping, capillary action) and horizontal actions (puddling, spreading). Influential is the use of vocabulary in indigofera’s colonial history and its contemporary craft applications — in referral to the eruption of the Indigo Revolt, appraisal of dye cakes, the disappearance of woad (the “weaker blue”) from cultivation, or revival an exhausted dye vat, among many — which produce an interesting confusion among potency, authenticity, opacity, vividness, solubility, stability and resilience.
Damla invites you to a performative artist talk that will take place on the closing day of the exhibition. She will use anecdotes, descriptions and other rhetorical devices to search for things that have fallen through between the visible and the invisible in the process of the exhibition.”