Helene Müllers Balcony
Leyla Aydoslu

The artist’s second solo exhibition at Fred & Ferry Gallery provides a focused exploration of Leyla Aydoslu’s sculptures, emphasizing their physical and material qualities. Initially, the definite presence of these artworks may seem startling, closer examination reveals a sense of familiarity that resonates uniquely with each observer.

Exhibition Helene Müllers Balcony
Artists Leyla Aydoslu
Date 06.04.2024 - 04.05.2024
Venue Fred & Ferry Gallery
Text Hanna Júlia Erdősi
Photography Tomas Uyttendaele

Crafted from fiberglass, wood, wax, and cement among other materials, the sculptures form a curated collection precisely arranged within the gallery space. This scenery creates an immersive environment where visitors can organically engage with the artworks. While each piece stands independently, they also form a cohesive ensemble that commands attention through strategic placement and scale.

The spatial arrangement prompts viewers to confront their own presence and physicality in relation to the sculptures, inviting introspection into their place within the microcosm of the exhibition. The size and ratio of the sculptures play a pivotal role in shaping their impact. During the creative process, the artist models every variant of the artworks at a 1:1 scale, putting emphasis on the importance of their one and only true form. Existing solely in their current dimensions, they acquire their own animate entity.

The encounter with Aydoslu’s works unfolds as a multi-layered experience. Textures and details, indicating past lives and origins, add an uncanny dimension to the familiar elements present in the sculptures. This attribute evokes a sense of intrigue and prompts contemplation about the specific histories and narratives embedded within each artwork. There are subtle remnants that hint at the possibility of enduring outdoor circumstances, adding a layer of discreet contradiction. A perfect example of this is the sculpture that gave the title of the exhibition: Helen Müllers Balcony. Floating within the walls of the gallery, it represents the “Outside”, while fundamentally altering the “Inside”.

New works seen within this exhibition mark a departure from Aydoslu’s previous practice of assigning Roman numerals to her works, opting instead to provide them with proper titles, mostly human forenames. This deliberate choice reflects the artist’s intention to avoid preconceived interpretations and foster a more intimate engagement between the viewer and the art objects.

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