Serpil Mavi Üstün

Call Me When You Arrive

21.02.2025 - 22.03.2025

Galeri Nev

Galeri Nev is preparing for its first solo show with Serpil Mavi Üstün. The artist, whose works have been featured in the gallery’s group exhibitions since 2022, is finally bringing together what she has accumulated in her studio over the past two years in Call Me When You Arrive. Serpil Mavi Üstün is traveling from London to attend the opening of the exhibition, which will be on view from February 21 to March 22.

Call Me When You Arrive is built around characters—sometimes male—that Mavi Üstün places at the centre of scenes constructed almost entirely from her own emotional states, perhaps forming a series of self-portraits. In fact, for the first time in this exhibition, her porcelain figurine paintings —capturing their brilliance, fragility, and strange relationships with the more ordinary objects around them— also take on a self-portrait-like quality. On the other hand, the characters in Serpil Mavi Üstün’s work, including herself, actually resemble no one, evoke no one, take no models. Precisely for this reason, they encapsulate the fundamental characteristics of her painting in their gazes and in their stillness. 

 
The one who is never still in Mavi Üstün’s paintings, almost moving from one canvas to the other is the cat. Yet, unlike the traditional role of a cat as a softening or domesticated presence, here it becomes an unsettling element, with its acute senses, agile body, and unpredictable movements. At the same time, with the presence of a cat, her scenes which are already difficult to place in time (are they set in the present? may be rather the 1950s or ’60s?) gain an unusual archaeological reference (maybe we are as far back as 2000 BCE). Serpil Mavi Üstün’s lifelong interest in psychology is also reflected in this exhibition through the textures she employs. The degree to which a tablecloth is allowed to wrinkle can convey extraordinary tension. The melancholic, dramatic, and unsettling atmosphere of a scene is shaped by the glossy leather upholstery of a car seat, the veined wood of a dresser, and —perhaps most significantly— the wallpaper and plaster mouldings, that continue -or may be not- beyond the painting’s frame.

Call Me When You Arrive surrounds the viewer with subtle threats, ready to sabotage a moment that at first glance appears ideal, beautiful, or happy: lipstick could smudge at any moment, a knife is on the verge of slipping, glasses may topple one after another... Thus, the responsibility for what comes before and after these film-like frozen moments—strongly inspired by cinema—is almost transferred to the audience. Furthermore, in contrast to her usual practice, the exhibition includes charcoal drawings created not before but after her oil paintings. This reversal of the traditional sequence only heightens the tension, leaving the viewer in anticipation of what might unfold next.