Kaftan

Aslan Bakiri specializes in sand-cast glass techniques, using ideas relating to the natural world. She renders the juxtaposition of the cold, hard nature of metal with the transparent, breakable, and sensitive characteristics of glass. The overall impression suggests a feeling of fragility, a decadence defined by how intangible the object seems to us. This sculpture elicits the divine human body idealism within Humanity, while also expressing the notion that we are manufactured parts beneath our surface. It’s a proposition to view our bodies as hardware achieved through delicate means.

Kaftan

Aslan Bakiri specializes in sand-cast glass techniques, using ideas relating to the natural world. She renders the juxtaposition of the cold, hard nature of metal with the transparent, breakable, and sensitive characteristics of glass. The overall impression suggests a feeling of fragility, a decadence defined by how intangible the object seems to us. This sculpture elicits the divine human body idealism within Humanity, while also expressing the notion that we are manufactured parts beneath our surface. It’s a proposition to view our bodies as hardware achieved through delicate means.

Kaftan

Aslan Bakiri specializes in sand-cast glass techniques, using ideas relating to the natural world. She renders the juxtaposition of the cold, hard nature of metal with the transparent, breakable, and sensitive characteristics of glass. The overall impression suggests a feeling of fragility, a decadence defined by how intangible the object seems to us. This sculpture elicits the divine human body idealism within Humanity, while also expressing the notion that we are manufactured parts beneath our surface. It’s a proposition to view our bodies as hardware achieved through delicate means.

Tree of Life

Aslan Bakiri specializes in sand-cast glass techniques, using ideas relating to the natural world. She renders the juxtaposition of the cold, hard nature of metal with the transparent, breakable, and sensitive characteristics of glass. The overall impression suggests a feeling of fragility, a decadence defined by how intangible the object seems to us. This sculpture elicits the divine human body idealism within Humanity, while also expressing the notion that we are manufactured parts beneath our surface. It’s a proposition to view our bodies as hardware achieved through delicate means.

Kaftan

Aslan Bakiri specializes in sand-cast glass techniques, using ideas relating to the natural world. She renders the juxtaposition of the cold, hard nature of metal with the transparent, breakable, and sensitive characteristics of glass. The overall impression suggests a feeling of fragility, a decadence defined by how intangible the object seems to us. This sculpture elicits the divine human body idealism within Humanity, while also expressing the notion that we are manufactured parts beneath our surface. It’s a proposition to view our bodies as hardware achieved through delicate means.

Kalkan / Shield (2019)

I usually use an ‘armour’ type of hand-wowen metal mesh made up of steel, silver, copper and brass wires to act as a backing for my works. The traditional ‘çintemani’ and floral motifs found on Ottoman textiles are rendered by me. In lustre, clear or coloured glass mounted on the intricate loops of woven metal sheet. These sculpture- like works of art have an eye -catching brilliance and resemble the magnificent sultans ‘kaftans of the early Ottoman Empire seen in museums. Each production is a unıque work of art as I use different weaving techniques with varying glass colour ,shape and patina in my kaftans.I personally hand -weaves the metal alloy mesh textile and hand  crafts the glass elements in ‘studio glass’ technique (hand cast one by one )and is therefore a rare example of an artist who uses  time -consuming labour. My works have a sculptural three-dimensional quality and my frequent use of unusual metal alloys and glass offer a visual harmony despite the opposing physical characteristics of the mediums (hardness versus fragility and opacity versus transparency).

                                                                          – Yasemin Aslan Bakiri

Kalkan / Shield (2019)

I usually use an ‘armour’ type of hand-wowen metal mesh made up of steel, silver, copper and brass wires to act as a backing for my works. The traditional ‘çintemani’ and floral motifs found on Ottoman textiles are rendered by me. In lustre, clear or coloured glass mounted on the intricate loops of woven metal sheet. These sculpture- like works of art have an eye -catching brilliance and resemble the magnificent sultans ‘kaftans of the early Ottoman Empire seen in museums. Each production is a unıque work of art as I use different weaving techniques with varying glass colour ,shape and patina in my kaftans.I personally hand -weaves the metal alloy mesh textile and hand  crafts the glass elements in ‘studio glass’ technique (hand cast one by one )and is therefore a rare example of an artist who uses  time -consuming labour. My works have a sculptural three-dimensional quality and my frequent use of unusual metal alloys and glass offer a visual harmony despite the opposing physical characteristics of the mediums (hardness versus fragility and opacity versus transparency).

                                                                          – Yasemin Aslan Bakiri

Tree of Life (Green)

Aslan Bakiri specializes in sand-cast glass techniques, using ideas relating to the natural world. She renders the juxtaposition of the cold, hard nature of metal with the transparent, breakable, and sensitive characteristics of glass. The overall impression suggests a feeling of fragility, a decadence defined by how intangible the object seems to us. This sculpture elicits the divine human body idealism within Humanity, while also expressing the notion that we are manufactured parts beneath our surface. It’s a proposition to view our bodies as hardware achieved through delicate means.

Endless (2021)

Aslan Bakiri specializes in sand-cast glass techniques, using ideas relating to the natural world. She renders the juxtaposition of the cold, hard nature of metal with the transparent, breakable, and sensitive characteristics of glass. The overall impression suggests a feeling of fragility, a decadence defined by how intangible the object seems to us. This sculpture elicits the divine human body idealism within Humanity, while also expressing the notion that we are manufactured parts beneath our surface. It’s a proposition to view our bodies as hardware achieved through delicate means.

Kaftan (2021)

Aslan Bakiri specializes in sand-cast glass techniques, using ideas relating to the natural world. She renders the juxtaposition of the cold, hard nature of metal with the transparent, breakable, and sensitive characteristics of glass. The overall impression suggests a feeling of fragility, a decadence defined by how intangible the object seems to us. This sculpture elicits the divine human body idealism within Humanity, while also expressing the notion that we are manufactured parts beneath our surface. It’s a proposition to view our bodies as hardware achieved through delicate means.