Meet

Senem Oezdogan

Brooklyn-based artist Senem Oezdogan tells us about her unique methods and relationship to architecture.

Where are you from and where do you reside?

I’m originally from Munich, Germany, but live and work in Brooklyn.

Did you go to art school?

I studied Illustration and Communication Design at the Fashion Institute of Technology in New York. Prior to that I studied Contemporary German Literary Studies in Munich and wrote my Master’s Thesis about Pop Culture’s Influence on Print Media. I came to New York to do some research for my thesis that eventually led to moving to New York and my first job in an art gallery. It was a great experience and I had the opportunity to work with artists I admire, like Ellsworth Kelly and see amazing artwork.

Describe a typical day in the studio for you.

I usually arrive at the studio between 8 and 9 am, get coffee and get started. The materials I’m using will structure my day. If I’m working with acrylics I don’t take a break until later in the day, since the paint dries quickly. The rope works are a more physical, and making them is more time consuming. I really enjoy that process because it’s very quiet and delicate. Being able to go back and forth between both worlds is lot of fun.

Artist Senem Oezdogan standing in her studio painting a monochrome dark blue painting.

Three abstract botanical paintings of unfurling petals in artist Senem Oezdogan's studio.

How has your work developed in the past few years?

Most of my previous illustrations and paintings have been representational, but after a while I realized that the vocabulary of that style was just not suitable for the work I started to develop and the ideas I wanted to visualize. And with that, the materials changed. My drawings were very delicate and detailed. The rope works are very solid, heavy and making the work is more physical, it feels more like building something. I like that is has this physical aspect to it (wrapping the rope around the canvas) and a quiet element (creating the shapes).

What is the most difficult part of the artistic process for you?

To create images that are intelligent and wholly resolved. I have defined tight parameters for the work I make (shapes and colors I use) and I want to be able to translate my observations into an arrangement of shapes and compositions that feel complete.

I’m interested in showing elements of reality we can observe anywhere – depth, flatness, tension, structure, color, and time. And to create compositions that manage to guide the viewer’s eyes across the artwork in a well-structured way.
Senem Oezdogan

Are there any aspects of your process that are left to chance?

Maybe to a certain extent. For example, when I start sketching out a piece and keep going back and forth trying to arrive at a certain point. Sometimes there is just something missing - days later I might come across something that catches my eye, gives me an idea, and the dots connect.

What necessities do you require when making your art?

I work with a variety of materials – wood, cotton, rope, paper, and canvas. I build a lot of the tools I use myself.

How do the different elements of color come together in your works?

I'm a fan of the Bauhaus - the concept of combining artistry and crafts has always resonated with me. Josef Albers' color theory, for example - understanding how colors interact with each other and how to use them effectively - is very exciting and challenging at the same time. I love working with a certain color for a while and just exploring slight variations of it by creating different color mixtures.

Three abstract botanical paintings on a white wall in artist Senem Oezdogan's studio.

Multicolored geometric paintings leaning on a wall in artist Senem Oezdogan's studio.

What tangible objects or intangible moments are you most interested in representing through your works?

I’m interested in showing elements of reality we can observe anywhere – depth, flatness, tension, structure, color, and time. And to create compositions that manage to guide the viewer’s eyes across the artwork in a well-structured way.

How important is spontaneity in your art?

Even though working in the field of geometric abstraction seems very structured, it has endless possibilities of allowing me to visualize an idea and very often adjust a piece. Many times I start with a fixed idea but after a few hours into the work I will realize that a color might not work with certain shape, or I will change my mind about an arrangement.

I have defined tight parameters for the work I make (shapes and colors I use) and I want to be able to translate my observations into an arrangement of shapes and compositions that feel complete.
Senem Oezdogan

Where do you find your day-to-day inspiration?

I really enjoy taking photos and over the years I have collected a huge image library of different textures and surfaces. If I feel like I'm stuck I will just flip through these until I see something that inspires me or reminds me of something. I sketch a lot and always love going back and picking up old ideas.

What themes or motifs are you consistently drawn to?

Architecture and grids are recurring themes in my work.

Do you find that environment relates to your work?

Absolutely!  I am constantly surrounded by grids and shapes when I walk down the street or ride the subway. It’s a lot of fun to observe the world in shapes, zoom in on things that we would normally overlook.