We visited Beril Ateş in her studio in Karaköy Perşembe Pazarı to feel the atmosphere of the visual universe she anchors the inspirations she likes to swim with and the working methods that wash ashore in different practices.
You are an artist, designer, and illustrator; even the food and travel diary you keep in your "Tuzlu Kadın" persona is based on production. What does it say about you that every air you see, hear, and smell easily turns into your inspiration?
The things that connect me to the world are always human. Everything that touches my senses seems to trigger the world in my head. A smell sometimes takes me back to places I don't remember while combining the dish I taste and the music I hear can make me draw more than one thing. These notebooks were born from my desire to fold that moment and put it in my pocket. They are all very every day and about us. Pages I share remind us that we are all one and connected to life through the same senses.
The language you use in your line style is naive and cheerful. How did you acquire this way of expression perceived in tone and visuals?
As far as I can observe, people identify "joy" with color. There is always a contradiction in the colorful worlds that seem cheerful at first glance. This contrast is especially noticeable in my "Human" series that I started in 2010. My childhood, in which I got bored of people and returned to namely fish, is the counterpart of this joy. Now I am combining these two series for my new collection. It will be a slightly colorful, dark exhibition, especially targeting the subject of "joy." A duet of my childhood and adulthood.
The way you play with colors is one of the foundations of the universe you create. What is the practice you use to incorporate them into your story?
Colors are a part of my feelings; they are the biggest supporter of what I am trying to tell. When I paint, I turn to the material I want to convey. Watercolour, acrylic, and pastel all mix together sometimes. Occasionally, I transfer them to paper or canvas or even a 3D object. I like to use mainly used papers/objects that are part of my daily life that I want to evaluate instead of throwing them away.
How does being a design-based artist shape your working system?
Being a graphic designer has many technical advantages in terms of the sector. It helps me to evaluate the artistic collaborations I make in terms of applicability and deliver the project with a single hand. It allows me to add function to aesthetics and evaluate how the final work will provide the best result. Therefore, I can say that my excitement multiplies when I try to solve the artistic part of the work and the other stages of the problem.
The texture in all your paintings, sketches, and diaries is also present in your studio. How is your routine in this area?
I don't have a routine in the atelier. I do my sectoral work in my atelier at home. I come to the atelier for my artistic productions. Being here makes me feel perfect. It's like escaping from all the chaos and taking refuge in myself, producing something for long hours, stopping and looking at it, continuing. Coffee, music, chatting with friends who drop by. A space for sharing. A playground.
Your studio is your working and living space, a place that lives as much as you do. How do Dyson technologies contribute to making your studio an ideal place for creativity?
My studio is in Karaköy Thursday Bazaar, and this area has no shortage of chaos. The building I am in is an old brick building. Therefore, there is severe air pollution and dust. That's why I use Dyson Purifier Humidify+Cool Formaldehyde to spend a longer and healthier time in the workshop. It purifies the dirty air caused by the paint, spray, and fixatives I use inside and provides cleaner air for both me and my guests.
I also use Dyson Solarcycle Morph while drawing. Since I work at different times of the day, the fact that the product adjusts its light color and power settings provides a great experience. It is one of the most compatible and useful products for illustrators.
