Beschreibung:

Güler Ates Green Veil, 2011 Giclée Hahnemühle Pearl Print on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) I work with Video, Photography, Printmaking and Performance. At the heart of my work lies an exploration into the experience of cultural displacement. Manifestations of my work are realised through performance and site-responsive activities that merge Eastern and Western sensibilities. 2006-08 Royal College of Art, MA Fine Art; Printmaking, London 
 2001-04 Wimbledon School of Art, BA {HONS} degree in Fine Art; Painting, London 
 2000-01 Lewisham College, BTEC Diploma Foundation Studies in Art & Design, London 1996-98 University of Marmara, Fine Art, Istanbul

 Solo Exhibitions
 Shoreless, The Museum of Oriental Art (MAO), Turin 2020 6th Station of Troubled Waters, Art Stations of the Cross, Amsterdam 2019 Fragments, Eton College, Windsor, 2018 Unfold, Museum Van Loon Amsterdam, 2017 Unseen Photo Festival, Oude Kerk, Amsterdam, 2016 Sea of Colour, Salvation Army International HQ, London Unseen Memories, House of St Barnabas, London, 2015 Fantasma Nel Silenzio, Spazio Nea, Napoli, Italy Stilled, Art First Gallery, London Dwelling; Rio de Janeiro, Marcelle Joseph Projects, London, 2014 Sound and Silence, Marian Cramer Projects, Amsterdam Open Studio, Instituto Inclusartiz, Rio de Janeiro Whispers of Colour, Kubikgallery, Porto, Portugal Zenana, Marian Cramer Projects, Amsterdam, 2013 Books of Dust, Royal Academy of Arts, Café gallery, London Trace of the Traceless, The LOFT at Lower Parel, Mumbai, 2012 Threshold, Art First Gallery, London Unveiling the Veil, Marian Cramer Project, Amsterdam Present and Absent, Great Fosters, Egham, 2011 No past is mine, no future: look at me! Leighton House Museum, London, 2010 Fusion, Gallery Point-1, Okinawa, Japan 
 Veiled Mozaic, The LOFT at Lower Parel, Mumbai, 2009 Projects at Christ Church Spitalfields, London, 2005 Represented by L'étrangère, London Marian Cramer Projects, Amsterdam Galerie Jean-Louis Ramand, Aix en provence & Paris Kubikgallery, Porto Luciana Caravello Arte Contemporanea, São PauloThis photograph was taken at Great Fosters, which has over four centuries of history, from Henry VIII in the 16th century and Judge Doderidge, Solicitor General to King James I, in the 17th century to Sir Charles Orby in the 18th century and Baroness Halkett, Queen Alexandra's lady in waiting, in the early 20th century. While working in Great Fosters, Ates imagined these characters that once lived in the house. Ates says, 'They were absent; however, through the objects in the rooms, the interiors and the exterior of the building, I wanted to trace the "present" of some of the previous occupiers.' This new body of work confronts the intense dialogue between the past and present in this grand historic house. Guler's photographs were taken in the majestic settings of the Italian Room, Panel II Room and the Tapestry Room at Great Fosters, complete with 17th century Flemish tapestries and a carved wooden Jacobean chimneypiece. The Italian Room is finished with carved Quattrocentro doors and damask covered walls. The darkness in the rooms, a consequence of the Tudor architecture, plays a significant role in the work of Ates, whose ambiguously veiled female figures illuminate against the dramatic backdrop of rich, heavy drapery. The extreme contrast is one element employed by the artist in order to create the fluid, floating apparitions that have become synonymous with Ates' work. Ates herself is inspired by Dutch Old Master paintings and the darkness and intensity of the works on display are reminiscent of these masters of painting. Her body of work comments on the Western notion of Orientalism and the effects of the cross pollination of cultures on female identity and architecture. The text was written by Marcelle Joseph, edited by Güler Ates Condition Report: Condition Report Disclaimer