Pınar Bamyacı’s first exhibition themed “41 Istanbul” met with art lovers at P.Unique Ceramic Workshop. The artist received full marks from art enthusiasts with her unique works reflecting Istanbul from a different perspective, predominantly consisting of nazar boncuklu (evil eye bead) figures.
The historical roots of the nazar boncuk, which has been considered a powerful talisman warding off evils in many cultures throughout history and believed to protect people from evil eyes, date back to five centuries ago.
“The traces of nazar boncuk were first found in Tell Brak, one of the oldest cities of Mesopotamia located within the borders of Syria today, during excavations conducted in 3300 BC. The nazar boncuk of that time consisted of a geometric figure. The blue beads we know today, on the other hand, emerged in the Mediterranean region in 1500 BC. The eye is considered as the first point of all kinds of thoughts, good or bad, and it is the window through which a person connects to the world. Therefore, blue stones, which are believed to have absorbing properties, have been used to protect against evil eyes for a long time,” says Pınar Bamyacı, who uses the nazar boncuk figure in various applications such as candles, cups, bowls, and spoons, each of which is different from the other.
“I did not remain loyal to a single color or shape in my works. I wanted there to be a difference in each of them. I also love to use nazar boncuk in different angles and forms,” says Pınar Bamyacı, continuing her words in this way.
Pinar Bamyaci also used animal figures in a stylized way in her first personal collection with the theme “P.Unique _41 Istanbul”. “I also love making sculptures of horses and deer. I used some fragments of them in candle holders. I preferred to use gold leaf in all of them, whether in small or larger areas.”
The gold leaf deer figures on vases and bowls were also heavily favored by art lovers in the P.Unique _41 Istanbul collection, where animal figures were frequently used.
Another prominent artwork in the collection was the female faces hanging on the wall. A few pieces from the “birth” series, which reflects the artist’s emotions about “woman” and depicts her rebirth in the new century and her true self-discovery, were also featured in this collection.
The ceramic spoon and fork sets, where tree branches and ceramics meet with the idea of a whole from nature’s resources, received great admiration as the most remarkable artworks in the collection.