The Other Folks: Kubilay Mert Ural
Art as a way to connect with the other layers of your mind and maintain mental health

People form cities, neighborhoods, societies and communities. We live together and we depend on each other. We know things about our friends, neighbors and family, but do we know what others think? What do they dream about? In short, who lives around us?

Today, we interview Kubilay Mert Ural, an artist born in Istanbul and currently based in Amsterdam. This journey takes us from the eyes of a child curiously observing the outside world to those of a teenager witnessing political shifts, leading to the realization of an artist who moved to the Netherlands and embraced a life of music, sculpture and painting.

Stefano: Good morning, Kubilay. So, to start off, where are you from?
K: I’m from Turkey. I was born and raised in the suburbs of Istanbul. I grew up in a middle-class family; my father was involved in politics and ran a kebab restaurant.

S: A kebab shop? Were you also involved in the business?
K: [laughs] No, my father owned the place. I visited him a lot since our house was upstairs.

S: As a child, did you help out at the shop?
K: I mostly just sat and observed. I enjoyed spending time with my father and watching people. Like a typical kid, my mind was quite dreamy at that age.

S: Can you give us an example of what your dreaming mind captured at that moment?
K: Seeing a doner chef in white clothes sliding a giant horizontal meat roll with a sword-sized knife was a dreamy image back in the day. Also seeing people visiting the shop was kind of a stage play in how waiters and customers interact and communicate.

S: Do you remember other episodes from your childhood?
K: I think I was lucky to have limited toys and no access to screens, which led to its own kind of imagination. For example, just watching a balloon fly or smelling a candy-colored soap bar would evoke many images in my mind, leading to daydreaming and joy.

S: I’m curious to know, what was your educational path?
K: I went to the government school and then I studied Performing Arts in Istanbul.

S: Did your perspective change during your five years of studying Performing Arts?
K: The first four years were quite positive, but during the fifth year, something changed dramatically. You start seeing the current political atmosphere trying to take over so many things, including controlling the ideology of the universities by sending ‘men in suits’ to observe and monitor.

S: You mean agents and secret inspectors?
K: Yes, they were part of the government’s surveillance. Everything was being closely monitored.

S: And your relationship with art also changed?
K: Actually, no, because I only need paper and pen to imagine and produce, which is hard to limit by any force.

S: Then, you graduated, right?
K: Yes, it was around 2010-2012. It was a stormy time with major riots. It symbolized a shift towards an authoritarian government and the polarization of society. Contrastingly, the economy was having its last high times, and the contemporary art scene was at its peak before it started to decline.

S:  What happened after graduation?
K: Life started going downhill. My family went bankrupt, my father was paralyzed, and I had a severe illness that made me question life and death for a few years.

S: How did you manage these difficult moments in your early twenties?
K: I think I accepted whatever life brought. This realistic mentality has consolidated with artistic creation, which started with music and evolved into imagining colors and forms. In short, art became my way to articulate my thoughts and achieve healing energy on me.

S: Would you describe art as form of medicine?
K: I would put it differently. It’s a way to connect with the other layers of your mind and maintain mental health.

S: Continue your story please…
K: Just before I came to the academy in Amsterdam, I was struggling a lot to finance my art practice and living expenses. My mom saw how challenging it was for me, so she did her best and rented a humble, somewhat creepy house in the industrial zone. She said, “Please move in here and focus on your creativity.” The situation was like a mother giving her five-year-old child a coloring book.

S: Were you also working at that time?
K: Yes, I was working in a factory, which, for me, was also part of performing arts, like carrying and cleaning stuff, using trolleys, and so on. Then, one day, something happened... I was on a break, smoking outside alone. I checked my email and noticed one in particular. It was from the Rijksakademie van Beeldende Kunsten.

S: So, did they accept your application?
K: Yes. When I read the email I did the most spontaneous thing that came to mind…. I let my body fall into the puddle, with my whole face in the water. I know, I did something crazy, but for me it was a release, just relaxation.

S: Your mother, she was…
K: She was so happy, that’s for sure. She was the only person in my life who understood what I was trying to do, even though she didn’t know much about art.

S: What is the first good thing you remember when you arrived in Amsterdam?
K: The first good thing I remember was arriving at the Academy. In my first email, they addressed me as “Dear Artist.” It was such a pleasure and relief to step into a professional environment.

S: How long were you in the academy residency?
K: I spent two years there. During my time at the Academy, I started collaborating with Ellen de Bruijne Projects, and we are still in touch.

S: But living in the Nederlands is getting increasingly expensive. How do you handle that?
K: At the Academy, the accommodation was really good. Later on, I lived in several places without heating or basic amenities. Now, I’m living in a community residence and have a personal studio to work in.

S: Did you ever consider moving back to Istanbul during that time, especially with no heating and financial difficulties?
K: No, because for me it’s all part of the artist’s life, the ups and downs. Nothing tragic, just sometimes very challenging experiences.

S: What do you think of Amsterdam now that you’re living here?
K: Amsterdam is a city where you can interact with people from all walks of life, from shamans to expats. The city embraces a diverse range of lifestyles, creating a harmonious environment.

S: What improvements would you suggest for the city?
K: Amsterdam could benefit from more nonprofit spaces.

S: Can you give an example of a nonprofit space?
K: For example, an NGO gallery managed by people who are passionate about art rather than profit. These spaces could foster connections between artists and the community and help demystify art for the public.

S: What function would a nonprofit space have for you?
K: They bridge art and society, showing that art is accessible and not something to be intimidated by.

S: Kubilay, we have reached the end unfortunately, It was so emotional for me, listening to your story and learning about your journey as an artist. How was your feeling of this conversation?
K: We had a sincere talk. I enjoyed our conversation. It’s nice to share some fragments of life. Thank you for the invitation and your great hospitality.

Kubilay Mert Ural website:
www.kubilaymertural.com


 

Combination (by Stefano)
Music • Danny Brow – Grow up (2012)
Painting • Jean Béraud  - In the Studio (1880), oil on panel.
Book • Lev Tolstoy – What is art? (1897)

Combination is an attempt to depict a concept through different forms of art. All about an emotion, and although they are different, in some way they are also connected. 
This is the my combination, send yours to: ste.martini230(at)gmail.com.