Anatolian printing traditions combined with contemporary art in Istanbul

Centuries-old Anatolian printing traditions have been reimagined as contemporary art in a unique exhibition in Istanbul.

Artist and academic Didem Oz combines traditional motifs with modern techniques to create three-dimensional artworks, ensuring the preservation and evolution of this rich cultural heritage.

Her exhibition, “Imprint,” is currently open at the Offgrid Art Project in Istanbul’s Beyoglu district.

Explaining her process, Oz said, “I extract motifs from traditional prints I find and incorporate them into my contemporary artworks. This is my way of carrying the patterns of Anatolia into the future.”

700-year history of Anatolian printing, decline in modern times

The art of Anatolian printing, known as “yazmacilik”, dates back over 700 years, originating in regions like Tokat. These prints were once an integral part of daily life, used for headscarves, prayer rugs, and tablecloths.

However, the tradition has almost disappeared, as Didem Oz explained: “Traditional prints are no longer used for their original purposes. Unfortunately, many old masters have passed away, and countless prints were sold abroad or left to deteriorate in homes.”

Oz also noted the loss of tools and techniques. “Even the beautifully carved molds made from linden wood were burned as firewood. Now, finding traditional prints in antique shops has become a challenge,” she said.

Determined to preserve the craft, Oz replicates motifs from the few remaining examples and integrates them into her artworks.

Combining traditional Anatolian motifs with contemporary art techniques

Oz studied the art of printing under master craftsman Ali Riza Arda, but her approach takes the craft in a new direction. “I am not aiming to create works like a traditional artisan,” she explained.

“Instead, I transform these motifs into contemporary artworks that can appeal to a global audience. This allows the tradition to continue in a new form.”

Oz’s dedication extends to preserving the authenticity of the motifs. “I do not modify the ancient patterns. I use them in their original dimensions as a way to protect and respect the tradition,” she said.

By doing so, Oz bridges the gap between the ancient and the modern, ensuring the craft remains relevant in a changing world.

Scientific research leads to a groundbreaking exhibition in Istanbul

The Imprint exhibition stems from a research project titled “The Applicability of Printing Techniques on Three-Dimensional Weaves.” Oz noted that this project marked the first time these traditional techniques have been applied to create three-dimensional artworks.

“This is a continuation of my work that started with two-dimensional prints on fabric. Now, I have integrated weaving and printing techniques to bring them to a three-dimensional level,” she said.

The exhibition also includes digital works that merge printing and weaving motifs. “Moving forward, I plan to focus more on digital artworks as part of my exploration of this craft,” Oz said.

Reflecting on her work, Oz emphasized the importance of connecting the past with contemporary art. “If the masters from a hundred years ago could see this, they would better understand the value of their work and feel proud,” she said.