Turkish artist, born in 1979, Ardan Ozmenoglu received her BFA in Urban Design and Landscape Architecture and her MFA in Graphic Design from Bilkent University in Ankara. Once graduated, she completed residencies in California, Berlin, Belgium and Vienna, taking her career on an international level. Since then, the emerging artist has been exhibited worldwide during solo shows and art fairs, testifying that her talent has been recognized. She lives and works in Ankara, Turkey.
For her MFA, Ardan Ozmenoglu wrote a thesis on Site Specific Screen Printing, while working with Professor Alexander Djikia, a prominent Russian artist. This still influences her work. Away from conventional art media, her art is defined by the commonness of used materials. Her work shows of how she is continuously trying to challenge the definition of classical sculptures and paintings by working with materials as different as neon, tree and Post-it. Moreover, Love is one of the common themes of the artist. She even defines her work this way: “Art is my husband”. As in a marital relationship, she is always comforted and challenged by it at the same time.
Ardan Ozmenoglu’s words on her art :
The foundation of my art springs forth from the idea of repetition as it investigates the process of image consumption, history, and permanence in relation to mass production, ritual, and accompanying psychological states. My investigation into our consumption of image splits off into two independent yet complimentary impulses. In some of my pieces, repetition provides social commentary; in others, it conjures a feeling of ritual and a more personal space for a contemplative mood.
In some works I slice a flat image down to its constituent parts, like the levels of a topographic map. The flat image, existing now on multiple slides of glass, is abstracted and becomes sculpture, captured within and between the glass as it interacts with its medium and becomes a different image depending on the position of the viewer. This is the creation of dimension, mood and meaning for the viewer.
In other works, I subject images to reproduction on that most ubiquitous yet disposable of modern conveniences, the Post-it. Social commentary enters into the experience as the images eventually curl and fall away like so many autumn leaves. Whether commenting on the historical durability or transience of an image or sculpting with such fragile media as wire, glass slides or tree branches, my approach to my art and its sources has been and will always be contemporary in the extreme: my investigation into image coexists with aesthetic gestures that challenge, provoke and invite.