In this interview, we explore the remarkable career of Gökhan Okur, a distinguished academic and artist at Near East University. With years of experience, he has skillfully combined traditional techniques with modern technologies, producing compelling works of art that spark curiosity and invite personal interpretation.
Assoc. Prof. Okur discusses his contributions to both art and education, shares his views on the influence of technology in creative processes, and offers valuable insights for aspiring artists as they shape their paths in the art world.
What is your experience of producing art in an academic setting? How does your academic perspective influence your work?
I began my art and design education at the Department of Graphic Design at Hacettepe University, Faculty of Fine Arts. However, prior to that, during my time at the Restoration Department of Trakya University Vocational School, I took studio courses, particularly the Vocational Art Education course, which indicated to me the necessity of pursuing art education. Although it was a vocational program, it offered a variety of courses with intensive artistic content. During my second year at Hacettepe, I decided to become an academic. Since 1991, including my time as a student, I have been part of academic environments. For me, being in academia is about constant learning and teaching what you learn. Staying up to date is a critical factor in conducting artistic work. Additionally, interacting with young minds encourages me to think youthfully, which keeps my excitement alive and motivates me to experiment with new things.
“Academia provides a dynamic environment that keeps my artistic passion alive and fosters continuous learning.”
My academic perspective undoubtedly contributes to my work. For example, my research on the “Body Positivist Movement,” which I started in 2020 and have yet to complete, formed the foundation for my earlier nude artworks. Moreover, traces of the typography and calligraphy courses I teach can be found in my work.
My artwork can be inspired by anything I experience in my surroundings, including what I read, watch, see, and feel. Dreams, emotional experiences—both joyful and sorrowful—can be starting points.
“Every experience, from emotions to dreams, has the potential to spark new creative ideas.”
The philosophy of my artwork is that humans, who are among the creatures that can build forms, structures or systems against nature, produce an ‘additional’ option against natural formations. I prefer to express human stories in my works, which I approach with artistic concerns, benefit from the basic principles of art, and, of course, use the unique visual language of graphics.
“Hidden messages in my artworks invite viewers to derive their own interpretations.”
While I employ various themes, my artworks often contain messages, though these are not explicit, like in communication tools, but rather hidden. I value what the viewer interprets from my works more than the message I intend to convey. However, my primary concern in my work is not delivering a message but creating visual expressions guided by aesthetic concerns.
Among the works you have created, which one has affected you the most? What does this work mean to you?
The first that comes to mind is a series of screen-prints titled “The Ruins of the Sad Man.” These prints are composed of symbols representing life, our roles as humans, our families, and solidarity during difficult times. These works hold significant meaning for me. However, I must emphasize that the messages are hidden and can be interpreted differently by each viewer, which is how it should be.
What are your thoughts on the impact of modern technologies and digital tools on art?
I believe that traditional methods are a privilege for artists, especially designers. At the same time, I think that technology is a factor that constantly changes, reshapes or takes art and design to different dimensions. I combine computer technology with traditional methods in the creation process. In this way, I try to achieve results by managing the random errors that occur when using paper, ink and printing plates with the privilege of creating fast, multi-optional, mathematically flawless forms in a digital environment.
“Combining traditional methods with modern technologies can enrich the creative process.”
Recently, I have been excited to use artificial intelligence as a tool. Using prompt-based inputs, I reimagine my drawings with AI, significantly saving time in the creative process. Additionally, I consider the options AI provides as a visual learning tool for myself. At this point, a paradox puzzles me: “Does humanity teach AI, or does AI teach humanity?” Although the fear that AI might one day replace its creator frightens many, I believe humanity has always normalized and integrated what it fears into its existence, eventually consuming it rapidly.
In an interview, Stephen Hawking spoke about the development of AI potentially leading to the end of the human race.
Should I be afraid too?
I would first recommend that they receive proper education. Developing intuition is also crucial, in addition to acquiring knowledge. Understanding that truths in the field of art are variable and learning to manage this variability will bring originality to their work. Resisting any influence that restricts freedom is essential, not just for art but for all human endeavors. Therefore, thinking freely is a primary act for art. Of course, I don’t need to mention working hard, being curious, questioning, and making learning a way of life, as these are norms we should already possess as individuals. Lastly, adapting to the conditions of the day and using all kinds of technology offered by science as tools to manage will also provide significant advantages.
“Education, intuition, and the courage to think freely are the cornerstones of artistic originality.”
Who is Assoc. Prof. Gökhan Okur?
Gökhan Okur was born in Ankara in 1969. After graduating from the Restoration Department of Trakya University Edirne Vocational School of Technical Sciences in 1991, he began his education in art and design at Hacettepe University Faculty of Fine Arts, Department of Graphic Design.
He completed his bachelor’s degree in 1995, his master’s degree in 1998, and his proficiency in arts in 2010, all at Hacettepe University Faculty of Fine Arts, Department of Graphics. Between 1998 and 2006, he worked as a research assistant and lecturer in the same department.
Since 2006, he has been continuing his academic career as a faculty member at Near East University, Faculty of Fine Arts and Design, Department of Graphic Design, and his artistic endeavors under the Cyprus Museum of Modern Arts since 2018.
