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Exploring Zeynep Satık’s tryst with art in Animate Objects
Chairs, tables and mirror by Animate Objects
Image: Courtesy of Animate Objects
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Exploring Zeynep Satık’s tryst with art in Animate Objects

The Turkish design studio builds functional objects inspired from both popular artworks and lesser known paintings and artistic experiments. 

by Almas Sadique
Published on : Mar 21, 2023

Configurations that induce the phenomenon of pareidolia make for engaging spaces to exist in. Two blobs mimicking the eyes, a tilted line evocative of a smirk, geometric forms affixed to a central pole suggestive of a spinning dervish, and feet-like kinks on the ends of objects—features such as these can imbue an otherwise vacant locale with action. In an attempt to add life and drama within indoor spaces, multidisciplinary designer Zeynep Satık founded Animate Objects, a furniture design studio that aims to reimagine functional objects in direct reference to specific art movements, styles, and works. The Turkey based design practice operates with the intention of creating theatrical environments through their furniture pieces. In deriving inspiration from the likes of Spanish artist Pablo Picasso, art critic John Berger, acrobatic street theatre popular in early modern Italy, and Bauhaus-era photographer Lucia Moholy, among others, Satık not only builds unique objects, but also tells visual stories through them. On closer inspection, one can point out various references from art history apparent in the studio’s works. Hence, their creations, although classified under the category of furniture design, serve as a repository for popular art and art-adjacent creations and ideas.

Trained in Performance Design and Practice, Turkish designer Zeynep Satık practiced as a creative in various fields such as fashion, film, and advertisement. Her experience as a stage and set designer—for fashion weeks, talk shows, campaigns and editorial shoots—further helped Satık enhance her design skills. Summoning her interest in designing theatrical spaces and objects, and the expertise gained as a creative, over years of practice across myriad art and design fields, Satık established Animate Objects—with the intention of channeling a dialogue between space, form, and colour, along with uncannily apparent references from artworks and ideas pertaining to the creative field. Apart from referencing pertinent creative ideas, furniture built by the studio also embodies a unique persona, one worth interacting with.

A few works built by Satık over the years include the Travelling Performers Collection, the Istanbul Collection, the Lucia Side Table, the Exposè Collection, the Twist Chair, and the Rèveuse Collection. The Travelling Performers Collection comprises the Pantalone Side Table, Isabella Side Table, Pierrot Side Table, Columbina Side Table, and Harlequin Side Table, all of which are named after characters of the Commedia dell’Arte, a form of acrobatic street theatre popular in early modern Italy. The collection serves as an ode to the tradition of street theatre that travelled across cities and engaged with people from all spectrums of society. Each piece in the collection, with its sinuous and minimalist geometry, captures the essence of the characters they are named after. On the other hand, the Bird Candleholder and Fish Candleholder from the Istanbul Collection, chiselled to mimic the clean lines of Brutalist architecture, are a tribute to Istanbul, Satık’s hometown. The Lucia Side Table is named after Lucia Moholy, a Bauhaus-era photographer who also developed photograms. It is inspired by Moholy’s artwork Laszlo and Lucia, a photogram of her and her husband’s profiles.

Another collection by the studio, the Exposè Collection, comprising two mirrors Exposè Mirror and Exposè II Mirror, is the visualisation of art critic John Berger’s theories that state that our manner of perception of any kind of historic art exposes more about us as individuals than it does about the work under examination. The two mirrors are made by juxtaposing smaller segments of female figures within the mirror frame. Satık’s Twist Chair, on the other hand, is defined by a continuous curve—from the back legs to the backrest. The studio's latest creation, Rèveuse Collection, comprises the Epona Chair and Luna Chair, inspired by Pablo Picasso’s horse costume in Jean Cocteau’s ballet Parade. All products built by the design studio are handcrafted by local artisans using natural materials.

In an attempt to further understand the ideas that inspire creations at Animate Objects, and the processes undertaken to build each piece, STIR established a dialogue with the studio’s founder Zeynep Satık.

Almas Sadique: Take us through your journey as a designer and eventually, building Animate Objects.

Zeynep Satık: Upon completion of my BA in Performance Design and Practice from Central Saint Martins College of Art and Design in London in 2016, I returned to Istanbul, Turkey, and initiated a multidisciplinary creative agency specialising in set design and art direction. My experience designing sets for diverse projects such as fashion shows, television talk shows, music videos, and campaign and editorial shoots, has broadened my visual language and enhanced my skillset. Despite my passion for connecting space, colour, and form, designing sets for clients' requirements has its limitations. Therefore, I established Animate Objects with the goal of having complete creative freedom in what I design and creating theatrical environments with unique limited edition decor, sculptural designs, and collectable furniture. This new phase in my artistic journey has opened doors to abundant opportunities for creative exploration, experimentation with various materials and forms, and pushing boundaries as a designer.

Almas: How do your experiences in various creative fields and multicultural experiences shape your style and design philosophy?

Zeynep: Working on diverse projects in various industries and collaborating with other professionals has allowed me to explore new ideas, techniques, and perspectives. Animate Objects represents my personal journey in the ever-evolving process of art and design. It's the place where I can truly express myself and explore my designer identity. Through Animate Objects, I aim to create objects that engage the viewer's imagination and emotions, leaving an exciting impression on those who experience them, just like designing sets that transport audiences to a different world or time, evoking a sense of wonder or awe. My goal is to create theatrical environments that transcend mere aesthetics and convey a message or a story.

Almas: What inclines you to draw inspiration from art?

Zeynep: Growing up in a family of doctors, I was surrounded by science and medicine, but art and design were always present in my life. My family had a strong interest in design, and we frequently visited museums and cultural activities that sparked my curiosity for different forms of art. From a young age, I discovered my passion for creativity and knew that I wanted to pursue a career in design. Initially, my family had hoped that I would study product design, but they supported my decision to follow my own path. Looking back, I'm grateful for the opportunity to explore different avenues within the field of design because it led me to create Animate Objects, something that wouldn't have been possible if I had followed a more traditional route.

Almas: What is the direct inspiration behind each of the pieces designed by you?

Zeynep: My collection is a reflection of the diverse array of experiences and influences that have impacted and inspired me till this age. It's a combination of the things that have inspired me in the past, continue to move me in the present, and natural flow in my life at the moment. Going forward, I aim to maintain this style of creating pieces that are independent yet connected, and that subtly interact with each other. Animate Objects embodies my storytelling style, where each piece collaborates with others to create a unique narrative. However, the stories they communicate can be open to different interpretations, and they can take on new roles as characters in other people's life scenes. Through my collection, I strive to convey my individual perspective and invite others to interpret and connect with the pieces in their own ways.

Almas: What considerations do you make, in terms of material and techniques, to make such sculptural designs?

Zeynep: Sometimes the material itself is the beginning of the design process, other times I decide by seeing and touching. Industrial materials like iron and aluminium entice me with their ability to create sculptural pieces that interact with light and shadow, continually transforming with every movement. At the same time, I'm equally captivated by the distinctive charm of natural materials, such as burl wood, which imbues each piece with its own sense of uniqueness and spontaneity. When selecting colours for my creations, I take into consideration the emotions that I want to convey and the story that I want to tell through each piece.

Almas: Is Twist Chair a sculptural piece or can it be used as a traditional chair, too?

Zeynep: Within my collection, the Twist chair stands out as a unique and collectable piece. Its sculptural design goes beyond mere functionality, capturing a sense of artistic presence that is both bold and distinctive. I believe it's the ability to combine luxury and simplicity in equal measure, the Twist chair exudes a dynamic and sensual energy that captures the eye from every angle.

Almas: Describe the perfect locale for the Epona and Luna Chair.

Zeynep: In my view, creating a perfect place for any of my pieces is a subjective notion, as perfection is a concept that varies from person to person. Rather than striving for an unattainable ideal, I'm driven by the excitement of designing pieces that can become a part of other people's stories and bring a new dimension to their environments. I see my creations as devices for storytelling, akin to props in a movie. Although my pieces do interact with one another in the context of my own designs, their stories remain open to interpretation, taking on new meanings in different settings. As they inhabit different spaces and are arranged in varying positions, they can create entirely new narratives, which I find both fascinating and gratifying as a designer.

Almas: What characters do the pieces in Travelling Performers embody?

Zeynep: Travelling Performers collection is inspired by the colourful and dynamic characters of Commedia dell'Arte, an influential form of street theatre in early modern Italy. Each piece in the collection is a tribute to the unique personality of these characters, and I strived to bring their vivacious spirit to life through my designs. Each piece embodies the distinctive traits of its corresponding character and is designed to bring a sense of playfulness and artistic flair to any living space.

For instance, the Pantalone Side Table takes cues from the character Pantalone, known for his wealth and miser. The table features a combination of soft curves and geometric lines, creating a visually balanced object with a charming anthropomorphic quality. Meanwhile, the Isabella Side Table celebrates the fearless actress Isabella Andreini, with its glossy lacquered wood and featuring rounded edges. The Pierrot Side Table captures the melancholic and romantic character with its unusual leg design, inspired by the character's long sleeves. Finally, the Columbina Side Table embodies the assertive femininity of Columbina through its distinctive silhouette crafted from burled walnut veneer.

Almas: Why is the Istanbul Collection so called?

Zeynep: The Istanbul Collection is aptly named after my hometown, Istanbul. The collection draws inspiration from the poem 'The Saga of Istanbul' by Bedri Rahmi Eyüboğlu, which beautifully describes the city's enchanting blend of sea and sky. The collection comprises two candle holders shaped like a bird and a fish, both of which are significant symbols in Turkish culture. These animals feature prominently in art, literature, and history, and are a part of daily life. The ascending and descending positions of the bird and the fish symbolize their peaceful coexistence, a metaphor for the diverse cultures and people that call Istanbul home.

Almas: What is NEXT in store for you? Will you also move beyond the design of furniture and sculptures?

Zeynep: My focus for the near future is to expand our reach and share our stories with a wider global audience. While it has only been four months since the launch of Animate Objects, I have been working on it for the past two years, and I am excited to see where it will take us. As a designer, I am always pushing myself to experiment with new materials and techniques, as I believe they offer endless possibilities for creative expression. I am currently working on developing different and more exclusive versions of some of my pieces, which I cannot wait to unveil. In addition, I have also begun exploring the world of lighting design, and I am excited to see where this new venture takes me.

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