The solo exhibition “Semblance” consists of sculptural garments portraying a past culture’s sophistication in a contemporary form. Costumes of a period depict the status of the people, and their traditions. On an individual level, clothing is a visual metaphor for identity. This communication through the language of clothing epitomizes our modesty, social status, and addresses the themes of place, memory and family and opens up possibilities for disguise.
The Turkish-American artist Belgin Yucelen created these garments based on clothing worn by Turkish women and children in Anatolia and Europe from 17th to 19th centuries to bring back and portray her own culture. While creating this series, she had referred to miniature paintings and literary sources. The dresses are made of copper, brass and stainless steel together with materials she had gathered from around the world. The techniques she had used to decorate the dresses are traditional embroidery techniques from Turkey and India, fabric manipulation techniques from Japan, calligraphy and gilding.
Belgin Yücelen is a Turkish-American artist creating sculptures, installations, movies and prints intending to enhance our imaginations and consciousness. At the powerful intersection of art and activism, she speaks out on behalf of children in war, women with no rights, and refugees. She also talks about current social and global issues such as the replacement of the traditional ways of communication by technology mediated human-to-human interaction and climate change.
She is the founder of the “House of Serein” which is a creative space designed for community use and studios for artists and freelancers in Boulder.
She is a recipient of grants including the 2019 Colorado Creative Industries Career Advancement Grant, 2018 Moon and Stars Project Grant; 2018 Executive Level Clark Hulings Fund, 2018 Kristal Martı award by KALID in Istanbul; and the 2017 Tending Space Fellowship for Artists by Hemera Foundation. She is also a National Sculpture Society elected member. Her work was publicized in the PhotoPhore, Fort Morgan Times, Pittsburgh Articulate, The Tribune Review, Les Femmes Folles, the Daily Camera, Chicago Reader, The Examiner and Reporter Herald.