13. 08 - 30.08.2009
The consumerism and mercantilism of human body, especially the female body, constitutes Fulya Çetin’s production since 2007. Beauty contests, cosmetic and aesthetic industries, advertisement and pornography industries are the most evident and the most direct examples. Until today; she depicted the inflatable dolls shrunken in their boxes, beauty queens with their bodies stiffened from ambition and anxiety, child beauty queens indistinguishable from dolls and Barbie dolls that seem to serve an adult consumer fantasy rather than being a children’s toy with their terrifying realism and realist poetry.
Fulya Çetin steps out of her aesthetic expression and medium up until the present. The reason of this change is Masa’s provision of a space allowing a dramatic composition of the commercialisation of the female body in the consumer culture. The inflatable doll stuck on the surface of the Masa stands before us as a metaphor of the female identity trapped in certain in roles of beauty, utility, meaning and society. The artificial lungs of the female body, the replica of the female anatomy and its fetishized limbs, crafted from petrol waste, heave with in-blown air. The Doll, as a piece of plastic tucked under the Masa, not as an object of pleasure, is in a cycle of gaining and losing the air necessary for it to meet its marketing slogan of fulfilling a desire.
When the basic data is observed; a corporeal replica -a fake woman supplied for consummation to satisfy desire and vital needs- encountering breath –the vital source of energy for life- demands an inquiry for the circumlocations of the patterns of flesh and aesthetics -into which we delve with human processes of desire, pleasure and satisfaction- in which the woman is trapped.(Deniz Erbaş)
