Salih Çakar: Landscapes of Displacement

Salih Çakar gained a Visitor Choose’s Selection Award, chosen by Deborah Smith, in Jackson’s Artwork Prize 2026 together with his work Savaş Ve Göç (Battle and Migration). On this interview, he discusses how observing village life has turn out to be a part of his course of, considering straight on the canvas, and what it was prefer to enter the prize from a ‘distant place’.

Above picture: Salih within the studio

Josephine: May you share the story of the way you turned an artist and inform us extra about your creative background?

Salih: Since originality is probably the most essential criterion in artwork, this query is often answered by means of childhood reminiscences. It’s because the one factor that units us aside from each other is life itself and our lived experiences. I suppose our experiences are the one treasure we possess. Though portray began as an satisfying sport throughout my highschool years, it steadily grew extra severe, and because it deepened, I strove to seek out options. First, I tackled technical points throughout my academy years, then kind and content material issues throughout my grasp’s diploma, and at last, I proceed to resolve kind and content material challenges in my doctoral research. On this journey of expertise, you first study a language and its grammar, and later, you start to talk. That’s, after all, when you’ve got one thing to say! My very own concern is the occasions I bear witness to within the geography the place I stay.

Josephine: What does a typical working day within the studio seem like for you? Do you will have any necessary routines or rituals?

Salih: As a result of I stay in a village, my studio follow is a extra bodily course of that features each stage of manufacturing. I produce most of the issues I exploit myself; I put together most supplies myself, from the canvas to the body. After making my canvases, I start creating textures distinctive to myself on the floor. This preparation course of is a crucial stage for me in establishing the ambiance of the portray.

I usually don’t make detailed sketches beforehand. The portray transforms all through the method. There are various instances once I destroy what I’ve carried out and work over it once more. I’m in a relentless state of battle and reconstruction with the portray. I work till an environment emerges that evokes a reminiscence or feeling from the previous. The second I seize that feeling, I perceive that the portray is full.

Generally, nonetheless, my entire day passes just by trying on the portray. I stand in entrance of it with out intervening and spend time with it. There are additionally days once I return house with out doing something in any respect. For me, this too is a crucial a part of the manufacturing course of.

Josephine: Which supplies or instruments might you not stay with out?

Salih: Probably the most necessary instruments I might by no means surrender is my palette knives. I exploit them not just for mixing paint, but additionally for straight transferring my reflexes onto the floor, scraping, drawing, and bodily feeling the portray. More often than not, I believe they depart a extra trustworthy hint than brushes.

Moreover that, texture is essential to me in portray. With out texture, I can’t really feel the area inside the portray. The layers and traces fashioned on the floor turn out to be one of many elementary components of creating the ambiance. In fact, I shouldn’t disregard the worth of different supplies both; each materials I exploit has its personal place and contribution inside the course of. I really feel a way of gratitude towards all of them.

Josephine: Do you’re employed from a reference? Inform us extra about your course of.

Salih: My relationship with references truly goes again to my childhood. My childhood years handed in a rural space that nearly resembled a desert. Throughout these instances, my household and I have been engaged in agriculture and animal husbandry inside village life. The dust roads the place we performed video games, the mountainous areas the place we hid, and plenty of locations that have been a part of on a regular basis life carry fully completely different meanings immediately. A few of these roads have now turn out to be routes utilized by individuals fleeing struggle, whereas some areas have became shelter centres.

In my works, the connection between the previous and present points constitutes a elementary drawback space. I exploit references not solely as visible sources but additionally as a conceptual subject. After I stand earlier than the canvas, a journey into the previous begins for me. When a reminiscence, or a sense from my reminiscence, reappears, the method slows down; on the level the place I seize that feeling, I attempt to relate the work to immediately’s actuality.

Josephine: Do you repeatedly draw or preserve a sketchbook? In that case, how does this inform your work?

Salih: I’m not somebody who makes sketches very repeatedly. I often assume straight on the canvas and seek for the portray inside the course of. Generally there are moments once I battle in entrance of the canvas or when nothing emerges in any respect. At such instances, as an alternative of forcing the work, I want to go outdoors and observe.

Observing village life, individuals, locations, and each day actions is a crucial a part of the method for me. As if making ready for the portray I need to create, I generally think about small dramatic conditions; I attempt to wander inside an environment or emotion. In truth, this course of resembles constructing a drama a bit of. The portray usually first kinds in my thoughts and emotional reminiscence, after which transforms onto the canvas.

Josephine: Have you ever ever had a interval of stagnation in creativity? In that case, what helped you overcome it?

Salih: For me, artistic stagnation is commonly the start of a brand new leap. Throughout such durations, I undoubtedly really feel that one thing adjustments in my work. It’s as if the works I beforehand made by no means existed, and I discover myself in a very reset place. Though it appears difficult at first, this example truly creates area for me to rethink my manner of manufacturing.

Throughout these durations, somewhat than forcing myself, I look forward to the transformation to reach. After some time, each the language of the portray and my strategy start to vary. After I look again, I see that these stagnant durations have been usually probably the most essential turning factors. The result’s usually satisfying for me.

Josephine: Are there any particular artists or mentors who’ve impressed you?

Salih: Throughout my pupil years, I used to be extra within the technical elements of portray. Over time, I realised how necessary not solely technical ability but additionally content material and mental depth are to me. Subsequently, I’ve at all times felt near artists who carry a powerful narrative and subject material.

Among the many outdated masters, Vincent van Gogh was one of many names who influenced me vastly. At this time, artists similar to Anselm Kiefer and Mona Hatoum are among the many figures who strengthen my motivation to provide and provides me hope. I particularly really feel near the language they set up round reminiscence, geography, trauma, and the human situation.

Josephine: What have been you desirous about or exploring on the time you made Savaş Ve Göç (Battle and Migration)? What impressed it, and the way did it come to be?

Salih: As a part of my doctoral analysis thesis, I conduct each theoretical analysis and painterly research on migration. The work titled Battle and Migration additionally emerged as a part of this analysis course of. After I noticed the competitors announcement, I made a decision to submit this portray, which I used to be already engaged on at the moment. As a result of it aligned thematically with the context of the competitors and was a pure extension of my ongoing analysis.

Josephine: What made you submit this piece to Jackson’s Artwork Prize?

Salih: I felt that this work really represented the purpose the place my follow presently stands. It contained each a accomplished facet and a aspect that was consciously left open, and this was necessary to me. Because it carried most of the themes I’ve been concerned about just lately, submitting it felt very pure.

Josephine: How lengthy does a portray like this take you to finish?

Salih: The completion time of a portray like this, if the technical circumstances are prepared – canvas, floor, texture and so forth – truly adjustments fully relying on my temper and internal course of at that second. Generally it’s accomplished in a really quick time, inside two days; generally the method lasts for much longer. Some works might even by no means emerge in any respect.

For me, portray is the results of an emotional and psychological circulation somewhat than a controllable timeline. After I seize that ambiance, the portray progresses; once I can’t seize it, it might wait or fully rework into one thing else.

Josephine: In the event you had the prospect to experiment with a brand new method or thought with none limitations, what would you prefer to strive?

Salih: I might very very like to work on a bigger scale and mix portray with spatial parts. Fascinated about sound, area, and narrative along with portray pursuits me. The concept of portray extending past the canvas and reworking into an experiential area excites me.

Josephine: Are there any new methods or concepts you’re excited to discover utilizing the supplies out of your prize?

Salih: To start with, I wish to thank the Jackson’s Artwork Prize staff. This award is extraordinarily priceless to me, each materially and spiritually, however above all, for what it means to me personally.

I have a tendency to make use of a substantial quantity of supplies – properly above common – on a single portray. I consider this prize will give me a lot higher freedom and ease on this respect, and I’m very grateful to your contribution and help.

I might additionally prefer to take this chance, by means of this interview, to specific my honest because of Deborah Smith.

Josephine: How did it really feel to maneuver by means of the phases of the competitors and win Deborah Smith’s Selection Award?

Salih: I participated within the competitors from fairly a distant place. And actually, whereas collaborating, I didn’t assume a lot that I might obtain a constructive consequence due to the drawback the space would possibly create. Subsequently, once I discovered concerning the award, the strongest feeling was seeing that the analysis had really been made pretty. This was much more priceless to me than the award itself.

In fact, the award itself additionally holds a really priceless place for me. On this event, I wish to specific my respect and due to your entire jury. I additionally assume I owe because of Jackson Artwork, who organised the competitors. I particularly need to emphasise that they created a subject of hope for a lot of extra invisible artists like us, ‘ready in solitude.’

Josephine: What’s arising subsequent for you?

Salih: The brand new works I’m presently engaged on deepen even additional the themes I’ve been concerned about just lately. I need to push emotional depth and compositional construction additional, and make the works extra bold when it comes to scale and ambiance. I’m excited to see the place the method will take me.

As well as, the exhibition that can happen at Jackson’s Artwork carries particular significance for me. I’m interested in how my works will probably be obtained at this exhibition and how much reactions I’ll get from viewers. I really feel that this course of will probably be an necessary threshold each for my manufacturing and for my future instructions.

Comply with Salih on Instagram

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