Arts:

Sıtkı Usta’s masterpieces

by Sibel DORSAN

Sıtkı Olçar, alias “Sıtkı Usta” (Master Sıtkı), creates artwork which glares, its colour, pattern and form giving new momentum to the traditional art of the ceramics of Kütahya. Perhaps due to the fruitfulness of the lands where he was born, or perhaps because of the “tile virus” cut into his heart in Kütahya - where everybody is moulded with this same virus - he has naturally turned towards this branch of art. It has not always been easy. When he first stepped into this realm with the “Ottoman Tile Workshop” in 1973, he experienced various difficulties. But he was to overcome this difficult artistic period thanks to much-needed help from his teachers, and the forbearance, sheer passion and love that he feels towards the profession which is now bringing him so much success.     

His epithet, “the master”, is well-deserved, yet incomplete. Sıtkı Olçar’s first works were applications based on 16th and 17th century Iznik and Kütahya ceramics. From these he internalised the patterns of classical tile art, and breathed in its technique. But Olçar took one step further and brought his own interpretation to the time-honoured form. From the 1980s onwards, he constantly worked and searched for new ways to recreate the tiles of Iznik.

The artist learned the niceties of Iznik tile art from Faik Kırımlı, an authority on Iznik tiles famous for his work on the famous “coral red”, a colour which had been lost for 300 years. He went on to win much appreciation with his blue-white Iznik tile imitations based on archaic period forms. His reputation finally arrived in the international arena with the “Iznik exhibition” which he opened at the “Balkan Handicrafts Fair” in Volos, Greece, in 1986.

Those were formative years when the sheer power of Olçar’s imagination brought a dimension and dynamism to 18th century Kütahya tile art – an art that had almost been lost. Once almost forgotten, these tiles now greet us again with their ebullient lines and master tones: figures of birds and horses, men and women in local clothes…

Olçar himself has once again revived the famous turquoise glaze of the Seljuk period. He uses matt and semi-matt finishes, while frequently incorporating the yellow colour used by the Seljuks into his work to give a unique and refreshing twist to tradition. The artist believes that cock, partridge, bird, cat and fish figures add a distinct richness to the art of tile design. He is particularly fond of using the fish figure in his work. This is symbolically very important, as the fish represents reproduction and fertility in 13th century Seljuk artwork.     

Byzantine obsession

Tirelessly seeking for freshness and innovation, Olçar became obsessed with Byzantine mosaics in 1998. He believes this fascination and the work it produced was partly inspired by Ertan Mestçi, owner of the Artizan Gallery. He also attributes it in part to his long-standing admiration for the bird figures in the Byzantine mosaics. He had examined the books of that period and visited many museums. If the Byzantines could do it, he concluded, why not me?

In these compositions, Olçar makes use not only of the Arabian horses, panthers and peacocks of the mosaics, but of human form and figurative handwriting. No master had transferred Byzantine mosaics onto tile before. The same year, the artist was to participate in the art fair at Bologna, as guest of the Italians. The Italian artists, he recalls, viewed the reinterpretation of the motifs with amazement, and claimed that they looked as though they belonged to the Christian culture. Olçar had the feeling that this was said with a tone of voice that implied a little jealousy and anger but at the same time a great deal of admiration. Today, 350 pieces have been made of this artwork, all products of delicate craftsmanship. The internal and external surfaces are decorated separately. The great majority of the works are one-off samples. 

Olçar later skilfully worked details from Piri Reis maps onto plates of various forms which he prepared for the celebration of the 700th anniversary of the foundation of the Ottoman Empire. As he entered the 2001 Istanbul Stock Exchange exhibition, his favourite work made use of gold leaf decorated fishes. “Tulips and Monograms” was the theme of the exhibition he opened in 2005 together with illumination artist Münevver Üçer. Olçar combined an aesthetic understanding of calligraphy with his own taste and style. He interspersed the tulips and monograms over crockery, plate and a variety of other objects as well as huge panels.    

Creative energy

Sıtkı Olçar has always taken traditional Turkish art as his inspiration and sought to bring new dimensions to the art of tile design with his unending passion, enthusiasm and boundless amounts of creativity. He has achieved his aim in producing work which echoes tradition, albeit with an added twist of contemporary interpretation coupled with his own unmistakable style. His exhibitions are never tedious to view and his work never becomes monotonous, but always offers original themes. He has maximised to his advantage both the criticism and the accolades he has received, always succeeding in heading towards new exit points and taking his work onto new levels. As a result of Olcar`s dynamic creative energy and exploration, he has received acknowledgement for unique techniques such as the “Granured glaze application”, thereby entering the literature of ceramics.

Olçar is causing a stir amongst collectors because his work has become highly sought after but difficult to obtain, since it is made up of one-off originals. Apart from commercial production he has opened more than 50 exhibitions up until the present day – a striking testimony to his popularity. His work can be viewed in many private collections and museums around the world, It has been displayed in countries such as Japan (6 times), England (3 times), USA (2 times), France, Italy, Austria, Switzerland, Greece and Belgium. 

Sıtkı Olçar has transmitted the forms and motifs used by all Anatolian civilisations from the Ottoman up to the present day, from Phrygians to Rome and from the Byzantines to the Seljuks, By doing so, he has opened up the doors of a different world for his audience. He invites us into his creative world, sharing with us his blue-whites, turquoises, lemon yellows and reds, with all the ornamentation which stems from his patience, his diligence and his pure passionate spirit.    

( DIPLOMAT  -  June 2006  -  Ankara )