Fragments 2022
"Evrim Ozkan Yazici creates abstract and architectural shapes which integrate clay fragments through a slow, determined and yet humble process. Her pieces evoke in a metaphorical way the alchemical processes of the psyche, the transmutation of each individual who, despite bearing the burden of ordeals which have been solidified by the fire of life, becomes a new unique being."

This body of work is done for the 17th ceramic biennale, Parcours Ceramique Carougeois 2022.
Extrait from PCC 2022 website.

DARE 2019

Dare 2019
My sculptures, like people, dare to open up themselves to others, dare to invite within, dare to reveal.

These delicate openings can be read as a reserved even reluctant call for a dialogue. It is a shy gesture, a humble suggestion, a possibility for an interaction. A timid yet courageous invitation of the unknown outside to the less-known inside. 

Each pair implies a certain dialogue between themselves as well as within the whole. Their groupings together open up possibilities of encounter. 
What is inside, who knows! The door is there, left slightly open. Dare to enter!


Stairs to nowhere 2016
Staircases fascinate me both literally and metaphorically. Here I am playing with their sculptural quality. 

I love the form, the variability and the endless possibilities in addition to the usability and the meanings that culture associates with the stairs. 

Experimenting with the staging gives interesting results as well.


Reflections 2015

The clay sculptures of Evrim Ozkan Yazici is a reflection upon the idea of architecture as a cultural product which in turn shapes the human experience.

Her abstract triangular buildings with their unproportioned and nonfunctional openings, can be read as a metaphor of the secluded, muted houses that lock one inside, the darkness within, the unknown.

The artist regards the spaces created by the sculptural groupings of multiple pieces as an essential element of her work. This is where the interior and the exterior clash; the light and the shadow interplay; the private and the public interact. These installations could mirror the little villages with unspoken hierarchies or the vast urban areas with non-communicative, identical buildings to live.

By focusing on the form and consciously omitting any kind of ornament, the artist reveals the true nature of the clay as an ancient and never exhausting material of human dwellings. 

Each piece is carefully constructed from slabs by hand with precision. This calculated approach contrasts with the rough inherent texture of the clay revealing once again the dichotomy between the nature and the culture.