Current – The Glorious Return
This solo exhibition, held in May–June 2025 as part of CerModern’s 15th anniversary, was the most comprehensive presentation of SEVINCY’s universe built from years of transforming plastic waste.
For the first time, giant robots and animal sculptures came together with light-coded plastics to create a unified experience for the audience. Works such as Plastic Bomb, Halal Porsche, Plastic Rhino, Three Wise Monkeys, and Sea Turtle interwove themes of war, artificial intelligence, climate crisis, and data pollution.
The exhibition embodied SEVINCY’s approach to “Trashformative Art.” Plastic debris, data dumps, and childhood memories were transformed—given form and presence.
This was not just an exhibition. It was a collective call toward the future: Reinvention is not only possible—it might be an aesthetic necessity.
Plastic Bomb
220 x 180 cm – Polyester and Plastic Waste, LED Lights, Steel Clamp, Car Paint
SEVINCY
Fragile Peace, Imminent Threat
Transformed from a polyester decorative element and a discarded trash bin, this bomb-shaped sculpture embodies the silent yet urgent tension of a world on the edge—war, ecological collapse, and cultural erasure converging in one volatile form. Its expression mirrors the anxious gaze of a child living through conflict.
This piece is a visual protest: it merges environmental pollution with human violence in symbolic form. Just as plastic poisons nature silently, war accumulates—slowly, quietly, then explosively.
With its fuse nearly spent, the sculpture becomes a countdown—asking viewers: Can this explosion be prevented?
“Plastic Bomb” materializes memory, fear, and trauma into a single object. The face etched into it reflects the universal emotions of children caught in conflict. SEVINCY transforms plastic waste into a powerful anti-war statement, proving that repurposed material can carry both warning and resistance.
This is not just an object. It’s a reminder: war doesn’t only threaten human life—it endangers our shared future. Every upcycled element poses a vital question: Can we turn waste into resistance? Can we save not just bombs, but the possibility of coexistence itself?
Three Wise Monkeys
In packaging factories, even the tiniest defects—imperceptible to the naked eye—render plastic forms unusable. These industrial castoffs, discarded before ever becoming packaging, form the raw material of Three Wise Monkeys. Far beyond environmental alarm, these towering robotic figures embody the “wise” stances artificial intelligence might adopt when confronted with human failures: strategic blindness, calibrated silence, and intentional inaction.
“See No Evil, Hear No Evil, Speak No Evil” is reimagined here—not as naïve denial, but as algorithmic detachment shaped by ethical ambiguity. Each robotic figure is built from layered industrial plastic waste coded with light, revealing a fusion of artificial cognition and the emotional void of the digital age.
This trilogy is one of the most definitive works within SEVINCY’s “Trashformative Art” ethos. Here, discarded plastics, synthetic consciousness, childhood memory, and moral fracture converge into one sculptural system. These robots stand not as prophets—but as witnesses of our era’s collapse.
Today, ‘wisdom’ is no longer a human virtue; we hand it over to systems and employees who have been able to give it.
“Life is Beautiful in Love” (West Hollywood, 2016)
In 2016, I wrote this phrase in Arabic on a public art board in West Hollywood, known as “Happy Walls”:
الحياة جميلة في العشق
(Life is Beautiful in Love)
At the time, my home country was experiencing a wave of bombings. One of them had just struck near the Sultanahmet Mosque in Istanbul. Although I was thousands of kilometers away, my heart was with Istanbul. Meanwhile, Islamophobia was rising fast in the West, with terrorism increasingly associated with Muslim communities.
That’s why I wrote a message of love in Arabic script in a public space —
To say: life is beautiful not through hate, but through love.
This was more than graffiti.
It was a visual act of resistance —
A reminder of the healing power of words.
I chose to heal.
Religious wars should have stayed in the Middle Ages.
This century deserves something sweeter.
This video is part of a street art project where I created gold coin-style Atatürk portrait stickers and placed them across various cities around the world.
It was recorded in Williamsburg, New York, during the time of the Armory Show, and was even featured on the wall of a local gallery.
Atatürk’s visionary leadership belongs in the same sentence as global icons of intellect and creation — which is why I used this quote by Bill Clinton:
“Shakespeare wrote, Einstein thought, Atatürk built.”
This piece was both a tribute to Turkish modernism and an attempt to refresh collective memory through public art.
Art can build a golden bridge between the past and the present.
🍰 Sweets in the Monastery – Tuzla Yacht Club (2011)
Location: Tuzla Yacht Club, Istanbul
In 2011, I had the opportunity to exhibit my dessert sculptures at the Tuzla Yacht Club, located in Istanbul’s Tuzla district. This venue, a former monastery restored to serve as a yacht club, provided a serene seaside setting that added a unique dimension to my works.
I installed my oversized dessert sculptures throughout the venue, creating a visual feast that contrasted the allure of sweets with the historical ambiance of the space. The integration of my works with the stone walls and sea view of the venue bridged the past and present, offering viewers a multifaceted experience.
Public Art Mural – Candy Canes Under the Bridge (2011)
Location: Mecidiyekoy, Istanbul, Turkey
Dimensions: 7m x 20m and 5m x 20m walls
Back in 2011, I turned two massive concrete walls under Istanbul’s busiest overpass into a visual paradox — sugar canes holding up the weight of the city.
The mural consisted of **seven oversized candy canes**, referencing the symbolic power of the number 7 across cultures.
Sweet yet structural, fragile yet foundational — the mural challenged how we perceive strength, support, and public space.
Looking back 14 years later, it was my first real intervention into the urban fabric — playful but deeply conceptual, much like everything that would follow.
My First Solo Exhibition (2010)
Before plastic, protest, or data — I arrived with color.
This exhibition, built entirely around acrylic and oil paintings, was a journey through my emotional storms and the illusions of the outer world.
Each canvas was a chapter, each scene a new atmosphere.
Looking back now, I see this show as the first spark of my obsession with material, transformation, and the post-truth realm.