ArtMeant* Project

“Home is not just a place, it is also a feeling.It carries many meanings: safety, roots, memories from the past, maybe even dreams for the future… In my exhibition “One Day Everyone Returns Home”, I present these abstract ideas in a more concrete way. Each work invites the viewer on a personal journey; it opens the doors of home and helps you explore its different layers.”

Interview: Buket Bal Soezeri

Hello Sinan, we’re very happy to host you in the ArtMeant Project. Thank you for accepting our invitation.

First, I would like to ask how your interest in art began. Can you tell us how this interest turned into a professional path, in the context of your education and personal practice?

Hello! I’m also very happy to answer the questions that art lovers might be wondering.

When I was a child, I loved reading encyclopedias and magazines. That helped me become a curious person. I also read many cartoon magazines like Gırgır, Leman, Lombak and others. These helped me see that there are different ways to express thoughts and feelings.

I grew up on the streets, and during high school, I discovered street art. That became a new way for me to communicate with people, and I really enjoyed it. Later, during my university years, I got more involved in art.

Even with all this, I see myself as an artist who learned through the master-apprentice method in the studio. My studio helped me improve my art practice more than anything else. While living life and gaining experience, I combined traditional and modern techniques to create my own artistic language and characters.

Your works often include playful images, bright colors, and sometimes distorted figures. What is the relationship between these visual features and the stories in your works?

I always try to use my signature materials in my works. This helps the audience connect with me more easily.

As an artist who works in different disciplines, I tell the stories and themes I collect in a spontaneous way, using different surfaces. These surfaces are my playgrounds and my world. As the stories become more colorful, so do the works.

With the mediums and techniques I use, I portray ordinary people from my life. Because I believe the best stories are about ordinary people. In each story, you can find small notes from the characters and from me.

In short, I am building my own universe that started with me and will continue as long as I live. It’s like a document that records history.

For you, artistic creation is like a map to understand the past and present of the artist. What kind of traces do you leave from your own past and present in your works? How should the audience read this?

The audience should visit the exhibition without any notes or text first and explore it by themselves. After that, they can read or listen to the artist’s explanations and discuss.

We don’t have to think or see the same things, but we share a passion. I use small images, colors, or 3D themes to pull people into the story between the past, present, and future. It’s like a puzzle. You can go from small pieces to the big picture, or the other way around. My goal is to help the viewer remove unnecessary thoughts and focus on the message.

Let’s talk about your characters that feel primitive and emotional. Even though they look modern and fun, they seem to tell familiar stories. For example, Miço Nazım and Janti Fikret look like people we know. Can you tell us more about these characters and how they were created?

I created these characters under the theme “The Hall of Fame” and I’m still adding new ones. These characters are ordinary people we might meet in daily life. What they have in common is that they all sat at my table.

They are people who somehow passed through my house or stayed for a while. Each one has a special story. I try to give small clues about those stories.

For example, Miço Nazım wears a sailor outfit, but maybe he’s not a typical sailor. Maybe he’s a romantic man in love with his boat “Hanımeli” and deeply loyal to it.

Janti Fikret is like the fun uncle of the house. You can recognize him by his look, clothes, and pins on his jacket. He can be the favorite uncle, or the unwanted son-in-law, cousin, or even the annoying relative.

Let’s talk about your solo exhibition at Art Capsule Gallery. How did this project begin? Can you tell us about the gallery and your preparation process?

I have known the founders of Art Capsule Gallery, Ms. Güler and Mr. Erol, since the beginning of the gallery. We wanted to do a project together for a long time. With Hakan Kürklü, who supports young artists, we visited the gallery one day and decided to make this exhibition.

The theme “One Day Everyone Returns Home” was already a series I was working on. This gallery has a special architecture, and when I first visited it six years ago, I felt a strong connection. My friends there made me feel at home, and this made me want to bring a part of my home into the gallery. I created a setup where visitors would feel at home, too. As someone who works in stage design, I added a few magical touches to make it happen.

The exhibition title “One Day Everyone Returns Home” carries a deep meaning. It suggests both a physical and emotional return. How did you choose this name?

This title was inspired by a sentence I heard, and Hakan Kürklü helped shape it into its final form. Home is not just a place, it’s also a feeling. It can mean safety, roots, memories, or dreams. In this exhibition, I show these abstract ideas in a more concrete way. Each artwork invites the viewer on a personal journey. The pieces open the doors of home and let you explore its layers. They reflect not only physical homes but also the emotional homes inside us. We all have a home within us, a place we look for meaning. In this exhibition, I share those homes we once lost and then found again.

“The meaning of home is in the people you share it with.”

One special thing in your work is the comic book/cartoon feeling that people from our generation and older generations know well. I think this creates a strong emotional connection. What would you like to say about this style and your imaginary world?

I try to continue building this imaginary world without changing its simple and honest nature. People like to find others who are like them and feel less alone. I think this is what affects people most in my work. In a world where people are feeling more alone, my works are a reminder that we are not alone. We just need to look out the window.

My stories come from the heart of everyday life.

Is there a work or story in your exhibition that you feel especially connected to?

Yes, the Bathroom Installation and its characters are very meaningful for me. From Kazım Kartal taking a shower, to the pictures on the wall – they are all important.

I tried to bring a part of my place in Ankara, number 13, to the exhibition. The letters in the mailbox and the music are memories coming back to life.

The pictures on the wall may look like simple stories, but five of them feel like “a spring inside me”. That’s a small, personal clue for the audience.

Lastly, what are your future plans after this solo exhibition? Are there new exhibitions, fairs, or projects you’re working on?

This year, I will take part in several group exhibitions in Istanbul and other cities. In September, I will be at an important art fair in Turkey. In October, I will have another solo show in Ankara at the State Fine Arts Gallery, where I’ll show other rooms of the house. We are also working on international projects, and in 2025-2026, I plan to have a solo show abroad.

I’m continuing with museum projects too. Right now, I’m working on a Roman-themed museum.

In the new season, I’ll keep creating 3D works and installations. You can expect more theatrical and story-based exhibitions.

Let’s end this interview with the words of Oğuz Aral:

“It quickly fixes your worries, boredom, heartbreak, or family fights. Gırgır is the cure for everything!”

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Who is Sinan Dağ?

Sinan Dağ was born in 1989 in Ankara. He graduated from Gazi University, Department of Fine Arts Education, Painting Teaching Program in 2013.

Since 2008, he has continued his art life with Nedensanat Studio, which he co-founded. He works mostly in painting and other visual arts.

His works have been shown in many solo and group exhibitions and are part of important collections.

He also works as a decorator for stage design, film, TV series, and advertising. He has also contributed to the design of many nature and history museums under the Ministry of Agriculture and Forestry and similar private projects.