Chrysalis of Rebirth

In Chrysalis of Rebirth, transformation is not a singular event but an intricate, ongoing process shaped by memory, mythology, nature, and human interaction. Each artist in the exhibition engages with the theme of renewal, weaving together deeply personal and collective narratives of change. Their works are in dialogue through shared explorations of metamorphosis, resilience, and the fluidity of identity, forming a continuous cycle where past and present intertwine to create infinite possibilities for the self and the collective.

Nancy Atakan’s ‘Gliding Through Life’ and ‘Fear is Dust’ set the tone for this exploration, questioning whether rebirth is truly possible or if everything is simply in a state of perpetual transformation. Atakan neither subscribes to the concept of reincarnation nor views death as an endpoint but instead as an inseparable counterpart to birth, unfolding continuously in every moment. She challenges our perception of time and memory, emphasising that the present exists only now, while both the past and future are intangible. By manipulating photography, extracting images from their original time and space, and reconfiguring them in new contexts, Atakan invites us to consider whether this act of reimagining is a form of rebirth or simply a reshuffling of what has always existed. Her approach resonates with the exhibition’s central question: Is rebirth a genuine emergence of something new or merely the transformation of one state into another?

Placed in conversation with Meltem Şahin’s ‘Woven Self’, Atakan’s work deepens the dialogue on how identity is shaped by memory and recontextualisation. Şahin’s intricate compositions examine the fluidity of selfhood, emphasising how transformation is not an isolated event but an ongoing process shaped by relationships, histories, and environments. Together, these works explore how we construct our identities through fragments of experience, much like Atakan’s layered visual manipulations.

This theme of interconnected transformation extends into Seph Li’s interactive installation ‘Prologue’, which centres on the enigmatic life cycle of a jellyfish. The jellyfish, capable of reverting to its polyp stage in times of instability and growing back into its medusa form, mirrors the fragile yet resilient nature of rebirth. However, in Li’s work, this transformation is also not solitary, it depends on human interaction. As visitors engage with the sculpture, their existence influences the jellyfish’s shape, creating a feedback loop. Much like Atakan and Şahin’s reflections on the collective aspect of transformation, ‘Prologue’ highlights how adaptation is shaped by external forces, reinforcing the exhibition’s underlying theme: rebirth is collective, not individual.

A striking visual and thematic bridge forms between Seph Li’s jellyfish and Cemre Yeşil’s ‘Double Portrait’, which features a human figure holding a jellyfish. This imagery invites reflection on the delicate interconnected relationships. The exhibition transitions seamlessly into Hilal Polat’s textile work, which draws upon the hand as a metaphor for creation, transformation, and renewal. Polat references Fatma Ana’s Hand (Hamsa) which is a symbol of protection, blessing, and creative power deeply rooted in Middle Eastern, North African, and Mediterranean traditions. In Anatolian belief systems, it is often invoked at the beginning of a new endeavour with the phrase “With the hand of Fatma Ana”, signifying guidance, strength, and an auspicious start. Polat’s work highlights the hand not just as a physical entity but as a symbol of resilience and renewal, reminding us that every act of creation carries layers of cultural and spiritual meaning.

The exhibition’s engagement with myth, history, and transformation is deepened through Sarah Pickstone’s ‘Portal Series’, which draws inspiration from a Greek vase housed in the Altes Museum, Berlin. Pickstone’s work has long explored broad art historical and literary connections, particularly in relation to women’s history in arts. In Portal’s Eye, the maenad—a female follower of Dionysus—emerges as a symbol of freedom of expression, embodying the untamed energy of transformation and renewal. Pickstone’s engagement with mythology resonates with the other works in the exhibition, particularly Polat’s invocation of Fatma Ana’s Hand and Erol Eskici’s work, which navigates the intersection of modern biology, mythology, and the evolving structures of ecosystems.

Erol Eskici’s four-panel piece delves into metamorphoses observed in aquatic environments, examining water’s dual role as both a physical and symbolic force of transformation. His layered compositions transcend the boundaries of water, illustrating how identities and forms dissolve, reconfigure, and emerge anew. Water becomes a liminal space—one where the distinctions between self and environment blur, reinforcing the exhibition’s central inquiry into the fluidity of existence. This approach aligns with the continuous cycle of adaptation seen in Seph Li’s jellyfish and the organic transformations explored in Burçak Bingöl’s ceramic work, where destruction and reconstruction coexist as part of a regenerative process.

Burçak Bingöl’s works from her ‘Brick’s Reverie’ series draw from traditional ceramic techniques but introduce elements of decay and fragmentation, challenging the notion of permanence in artistic practice. By allowing cracks and imperfections to shape the final form, she embraces the idea that rebirth is often inseparable from destruction. This philosophy resonates with Özgül Arslan’s ‘Catharsis Cycle’, a performance piece that explores the fragile boundaries between body and space. The stark contrast between the artist’s white clothing and the dark background emphasises the body’s existential vulnerability, while the use of foam material symbolising impermanence and underscores the transient nature of personal and collective boundaries. Arslan’s work, much like Bingöl’s, engages with the tension between destruction and renewal, inviting the audience to reflect on the cycles of loss and reconstruction that define human experience. Ahu Akgün’s ‘I Want Them to Live XIV’ further expands this discourse by contemplating grief, loss, and remembrance. Through layered, emotionally charged paintings, Akgün navigates the tension between absence and presence. Her work acts as a meditation on mourning as a transformative act, where memory becomes both an anchor and a space for renewal. By exploring the cycles of remembering and forgetting, Akgün situates personal and collective histories within a broader narrative of change and continuity.
Through these interconnected explorations, Chrysalis of Rebirth presents a multifaceted meditation on transformation, moving fluidly between myth, nature, personal memory, and collective history. The artists in the exhibition challenge conventional notions of rebirth, revealing it not as a singular moment of renewal but as an ongoing negotiation between past and present. Metamorphosis is both an act of survival and a testament to the enduring, ever-shifting nature of existence.