In the 19th episode of the Bil’s Conversations series, we had the opportunity to chat with Mustafa Boğa. We talked about his work practice, the elements he focuses on, and our collaboration.
Photos: Elif Kahveci (@elifkahveci)
1. Hello Mustafa! Could you tell us a bit about yourself? What kind of education did you receive, and where do you live?
Hello, I was born in Adana. I spent my entire childhood and high school education in Adana. In 2000, my first adventure outside of Adana began when I got accepted into the Radio-TV Broadcasting Department at Harran University. After studying here for two years, I took the university entrance exam again and in 2003, I was accepted into the Journalism Department at Istanbul University.
While studying in Istanbul, I decided to go to England as an au pair to learn English, so in 2006, I took a break from school and moved to London. During the two years I spent there, I learned English, got to know a different culture, and explored what I might want to do in the future. When my visa expired, I returned to Istanbul and completed my Journalism studies, which I had left unfinished, in 2009.
That same year, I applied for a master’s program in Cinematography and Post-Production at Greenwich University in London, and I was accepted. After completing my master’s degree, I continued living in the UK and began working in film production companies. Initially, I focused on documentaries and short films, but over time, I realized that my interests leaned more toward the visual arts. Therefore, I applied to several art schools and was accepted to Central Saint Martins, where I began my master’s degree in Fine Arts in 2014. I completed my studies in 2016 with an award, and then I went to China for a project. After that project, I started to engage more closely with art and developed my creative work in this direction.
2. Your works often feature unique figures and landscapes. How do you decide on the compositions in your works?
When creating my compositions, I draw inspiration from my childhood memories and the rituals of the environment I grew up in. I try to blend these personal elements with current events from the political world today. Throughout the process, I aim to create a strong emotional connection and narrative by combining personal or found visuals. My goal is to offer a universal perspective on the human experience.
When working with photos and videos, I carefully plan how I can merge their textures and stories. The materials I use, especially embroidery, deepen my connection with the images and amplify their emotional impact. When composing the work, I focus on how the selected images interact with each other and the feelings they might evoke in the viewer. I also consider that my works should serve as a record of the present for the future.
3. We often see elements like fire, oranges, and wreaths in your works. Could you tell us the stories behind these elements and why you choose them?
The places and experiences I have lived through in my life have deeply influenced my works. The warm landscapes and rituals of my childhood in Adana, especially symbols native to the region like oranges, are deeply embedded in my works. Fire, as a purifying and transformative force, represents the connection between the beginning and the end in my stories. Wreaths carry symbolism derived from cultural rituals, memorials, and celebrations. The time I spent in different geographical locations, such as England, Norway, Germany, and China, allowed me to give these elements a universal meaning. Each one holds significance both in personal connection and within the broader narrative.
4. You created two designs for Bil’s, “POCKET OF MEMORIES 1” and “POCKET OF MEMORIES 2.” What was on your mind when you started these designs? What do the lines and colors you chose represent for you?
When creating these designs, the starting point was to create a sense of nostalgia about the past. In doing so, I chose to use drawings of images that frequently appear in my practice. The texture of the land I lived in and the colors of the environment I grew up in became a strong source of inspiration for these designs. Each line and color on the shirts was intended to reflect both a personal story and to establish a universal connection to the world we live in. I wanted the images, which were familiar to me and had a strong connection to my memories, to evoke similar feelings in the people who would see these works.
Within the drawings, I combined elements of the flow of life, daily events, objects, or very personal narratives, drawing inspiration from the connection between the past and the present. The colors used reflect the energy and warmth of the environment I grew up in. For example, earthy and dark blue tones evoke the natural texture and sunny days of Adana, while bright colors express the energetic rituals and vibrancy of the region.
The patterns and embroidery details on the shirt and jacket aim to “carry” personal and collective memories in the “pocket.” These details serve as a reminder that we carry our memories with us wherever we go.
5. What do you pay the most attention to in the exhibitions and collaborations you undertake? What are the key aspects you focus on during the process?
One of the main goals of my work is to highlight personal narratives from different perspectives and establish strong communication with the viewer. I prefer to include untried methods in the exhibition process. By focusing on themes such as cultural context and childhood memories, I think about how these personal narratives can be interpreted in a broader framework and what associations they may create in others. I place great importance on details and aesthetic compositions, but since I did not receive formal technical training, this process usually takes shape later on.
In collaborations, my priority has always been to enrich the project by benefiting from different perspectives and skills. If I am undertaking a project in an area I haven’t worked in before, I aim to work with experts in that field to combine two different disciplines as effectively as possible. This way, I believe I can design the viewer’s experience in the most effective way in the resulting work.
6. What do you remember about your first solo exhibition? What kind of experience was it for you?
Actually, it’s more accurate to talk about my first two solo exhibitions here, not just the first one. This is because there was only a two-month gap between them, and both took place in Turkey. In 2021, I opened my first solo exhibition “Temel Atma Töreni” at Are Projects, and then another one titled “Because the Years Could Have Been the Beginning of a Beautiful Fairy Tale” at Bilsart. These exhibitions took place during the most intense period of COVID-19 and under quite challenging conditions. While I encountered many obstacles during that time, there were also beautiful developments, yet there was a prevailing feeling of uncertainty regarding whether the exhibitions would actually take place. As I fulfilled my responsibilities to the institutions that trusted me, I was stepping into professional life for the first time, and the fact that my works would be revealed in Turkey for the first time created both great excitement and fear. Looking back, these exhibitions are among my favorite works because they were realized with full creativity and large productions. The only drawback was that, due to being held during the COVID period, the chance for the public to experience them was limited.
7. Do you have a message you’d like to convey to the people who will wear these designs, which are limited to 100 editions?
I would like to express that each drawing on the jacket and shirt was created with the intention of establishing a special connection with the person wearing it. By adding pockets to the designs, I wanted to encourage people to imagine carrying their own memories with them. These designs are not just clothing but also a narrative and an expression of emotions. Therefore, it is very meaningful to me for you to create your own story while carrying the spirit of the design.
8. What are you currently working on? What can we expect from you in the future? Can you tell us about your upcoming projects?
In the first three months of next year, I have been invited to the Swatch Art Hotel Residency program, and for this, I will be heading to Shanghai, China, to enter an intense production process. There, I plan to embroider the lost photos I collected from flea markets last year. At the end of this artist residency program, preparations for a solo exhibition will begin. Additionally, I am working on a solo exhibition that is planned to take place at Bilsart in the near future, and I am focused on a new multi-video installation. Besides these, I am also preparing for several group exhibitions that will take place in various countries.
9. Thank you for taking the time for this enjoyable interview. Do you have any Spotify playlists that you prefer listening to while working that you would like to share with us?
Of course, with pleasure! Last summer, like everyone else, I listened to Charli XCX’s Brat and Billie Eilish’s Hit Me Hard and Soft albums a lot. Besides that, these songs are also among my favorites:
Jad Halal – Chaghaf
Suray, Tyrvnt, Toufic Hatem – Hawel Ya Ghannam
Ziad Rahbani – Abu Ali
Marina Satti – Ah THALASSA
Self Esteem – I Do This All The Time
Amr Diab – Saeban Alaya
Humanity · Majnoon
Mustafa Boğa: @bogamust