Gamze Araz Eskinazi
Ankara b. 1970
Ankara b. 1970
Gamze Araz Eskinazi (b.1970, Ankara) graduated from TED Ankara College in 1987 and Bilkent University, Faculty of Fine Arts, Interior Architecture and Environmental Design in 1991.
Her interest in glass and glassblowing led her to discover the Glass Furnace Foundation, which was established in 2002. Gamze’s glass adventure, that started in 2003, was shaped by the numerous glass workshops she attended at the foundation. In 2005, she founded the Camekan Cam İşler brand with Yasemin Sayınsoy whom Gamze had met at a workshop. The love for her art was reinforced through the workshops she received from many artists internationally. This gave Gamze a more global view of design and paved the road to be more creative with intrinsic skills. She had the chance to promote Turkey in international fairs, events and exhibitions. In 2008, she broke new ground with the Glass Furnace Foundation.
Yasemin and Gamze started teaching glassblowing to those who want to blow hot glass, for the first time as Turkish artists called "Meet Glass". In 2010, she helped start the Hot Glass workshop at Mimar Sinan Fine Arts University and teach hot glass blowing at the Academy. At the same time, she pursued her MA with her thesis on 'The Place of Glass Blowing in the Glass Art Education', which was completed in 2018.
While Gamze still continues functional and artistic creation and production for the Camekan Glass Art and Design brand, she continues to provide training to many others to meet and be fascinated by hot glass.
“Affirmative World” which consists forty-two works from eighteen artists, by redefining ethical protocols, norms and the world of values this exhibition roams among different paths of criticizing and pursuit of solutions with reference to philosopher Rosi Braidotti’s Affirmative Ethics and Affirmative Politics concepts. When human consciousness and thought imageries pass through a beyond-human atmosphere they leave destructive acts and this exhibition renders them into timeless, empty stains that can be seen on white space. Exhibition, tries to get rid of the negativity of subjectivity that was shaped through language, history and discourse and then questions the possibility of strengthening different ways of connecting it to an affirmative otherness and the possibility of converting it into an energy of life. Exhibition, which is composed of artists whose approach to plastic is the opposite of each other, by feeding on the negativity of critical thought and by considering this negativity as an opportunity to create a new society, gives this negativity a carnivalesque feeling.
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Gamze Araz Eskinazi’s practice renders visible a relationship that transcends the materiality of glass—one that establishes a connection between breath, body, and time. For more than two decades, glass has not been merely a medium. It becomes the outward expression of an inner flow, a field of dialogue between what is inhaled and what is released. In this context, breath transforms into a second material, operating in tandem with glass. BİR İZ may thus be read as both a threshold within this sustained engagement and as a moment of retrospective condensation.
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