Gelgit 

Editor: Here we have "Gelgit," a mixed-media work by Mustafa Duzgunman. It gives the impression of swirling currents and immediately makes me think of water, of something flowing. What's your take on this abstract piece? Curator: "Gelgit," aptly named "Tide," brings to mind the traditional craft of Ebru, Turkish paper marbling. It’s critical to acknowledge its production: pigments carefully floated on water, manipulated, then transferred to paper. The material process informs the entire aesthetic. The bubbles trapped in the pattern point to the inherent qualities of the medium used. Can we consider this 'high art' or is it simply a decorative craft item, elevated due to the gallery context? What are your thoughts? Editor: That's fascinating. I hadn't considered the connection to marbling specifically. The choice of mixed-media definitely elevates it, questioning the typical uses of those materials. Thinking about the labor involved—the patience and skill—makes me see the artistic intention beyond pure decoration. Curator: Precisely. It challenges the separation between art and craft. The swirls, almost mechanically reproduced, also question ideas of uniqueness in art production. Look at how the pattern repeats— is it mass produced, or a simulation of mass production through the labor-intensive process? Editor: I see what you mean. The material context really reframes the way we interpret the whole thing. Thanks for pointing out those material qualities, it’s really changed how I look at the artwork. Curator: It is important to move beyond the surface. By examining the labor and process, we can reveal so much more about an artwork’s value and cultural significance.