View of “Leylâ Gediz,” 2017. Photo: Hasan Deniz.

View of “Leylâ Gediz,” 2017. Photo: Hasan Deniz.

Leylâ Gediz

The Pill ®

View of “Leylâ Gediz,” 2017. Photo: Hasan Deniz.

Leylâ Gediz’s show “Serpilen” (an unusual Turkish word meaning something that blooms as it is dispersed) was a poetic rendition of her studio, a distilled portion of her work, a pristine and spiritual space created by paintings and some of her working environment’s “clutter,” as she puts it. All became part of a total installation—not a grand, socially loud one, but a quiet contemplation of in-between moments and the intimacy of objects, of lives shared or interconnected, in which viewers could create their own stories through what they saw.

Gediz’s works have always been thoughtfully studied and composed. Her paintings use a limited palette of mostly grays, pale blues and pinks, and black; her drawings of everyday objects are meticulously refined; her installations project a layer of meaning beyond the obvious—a question, a sense of wonderment about what has happened or

to keep reading

Artforum print subscribers have full access to this article. Please sign in below.

Not registered for Register here.

SUBSCRIBE NOW and save up to 65% off the newsstand price for full online access to this issue and our archive.

Order the PRINT EDITION of the May 2017 issue for $17 or the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.