In this issue of Artademics, we had the pleasure of speaking with Prof. Erdal Aygenç, the Dean of the Faculty of Fine Arts and Design at Near East University. With a career that spans decades and bridges disciplines, Prof. Aygenç offers deep insights into the evolving role of the artist-academic, the importance of critical engagement in art and design, and the meaning of creating with intention. Through this conversation, we explore not only his thoughts on art and education, but also his personal reflections on inspiration, belonging, and the creative journey.

Art education is a form of creative training with its own unique conditions and processes. Academics involved in this field must stay informed about developments in the art world, follow innovations and changes, update their knowledge, and maintain an active artistic practice. In other words, while continuing their academic work, they must also remain creatively active. I deliberately use the word “must.” Only then can one be truly beneficial to students when entering the studio, offering the right methods to help solve their artistic challenges. An art educator, for instance, must be able to pick up a pencil or brush when needed. If someone hasn’t been involved in artistic creation for a long time, this becomes almost impossible—the memory of the hand or wrist weakens. Think of it like training: it requires systematic practice. Artistic creation is not a hobby for spare time.

“The foundation of art education is to learn and teach by doing and experiencing.”

From this perspective, art practice and academic work form an integrated whole. This is indeed the essence of art education.

As for the second part of your question—I prefer the term “creating artwork” over “producing” it. Art is about creation. You can produce potatoes or industrial products, but an artwork is created.

For a long time, I have been working on canvas and paper—in other words, I paint.

I firmly believe there is an inseparable relationship between knowledge and artistic creation. This has always been the case throughout history. At times, science has guided art; at others, art has broadened the horizons of science. Without one, the other is incomplete.

Do you incorporate traditional techniques and modern technologies in your art practice? If so, how does this process unfold?

Artists follow technological developments and innovations; it is impossible to remain indifferent. These advances occur rapidly, and just as you adapt, something new emerges. As for how I use technology—I view it as a tool, and artistic creation as a space for problem-solving. When faced with a problem, one must analyze it thoroughly and select the most appropriate methods, tools, and materials. There’s no need to separate things into “traditional” or “technological.” If a modern technology helps you solve a problem quickly and allows you to choose from multiple options, of course you use it.

This is how I relate to technology. Whether I use it or not, I feel compelled to understand how it works and what it offers. But I don’t follow trends for the sake of popularity, nor do I dismiss technology outright. From a pencil to artificial intelligence, the tool I choose depends on the creative problem at hand.

“Ability to select the most appropriate and valid option among many is the creative intelligence.”

Do you believe the academic environment contributes to your artistic production, or does it impose limitations?

In general, I view the academic setting as a multidisciplinary environment—a vibrant open kitchen filled with the flavors of life and the world. It’s dynamic, refreshing, and constantly in motion. Isn’t that magnificent? It’s almost impossible not to be nourished, either directly or indirectly, by such an environment.

In my own field, I see an inspiring scene where art educators and students share the same space and interact with one another. I find great value in observing the works and creative processes of my colleagues who work with different styles, methods, and materials—and in discussing and sometimes debating art with them.

“Students are a driving force that constantly challenge and push you to renew yourself.”

Art is one of the most powerful driving forces in society—not only in painting or sculpture, but in all its forms. Art illuminates the dark corners of life, gives meaning, and heals.

As for whether I address social issues—an artist’s nerve endings are closer to the surface. They are constantly alert, responsive to the problems not just of their own society but of the entire world. They can’t isolate themselves from the flow of everyday life and often engage with it. However, not all artists must necessarily deal with social issues in their work. Those who do must also pay attention to the balance between form and content.

To give an example, everyone knows Picasso’s politically charged painting Guernica, which depicts the bombing of the town of Guernica during the Spanish Civil War. We understand the painting more deeply because we know its story. Without that context, our emotional response might have been very different.

Recently, I discussed this with a group of my students. Then I played them Rodrigo’s Guitar Concerto and asked them what they felt. Because they didn’t know its background, their answers varied. But that piece, like Guernica, was composed in the atmosphere of war and expresses the struggles and suffering of the Spanish Civil War. Knowing this, will we now listen to the concerto with different ears?

Which of your upcoming projects excites you the most? What are your new goals artistically and academically?

I’ve been preparing for a solo exhibition for quite some time. I won’t say much about it now—but we can talk more after the exhibition. It’s something I’m very excited about.

You already know that our faculty organizes an exhibition every month for the Cyprus Museum of Modern Arts. So we continue our artistic creations in a never-ending wave of excitement.

Erdal Aygenç was born in 1959 in Hopa, Turkey. He completed his primary and secondary education in Hopa, and earned his undergraduate degree from Gazi University, Gazi Faculty of Education, Department of Art Education. In 1986, he received his Master’s degree and in 1992 his Ph.D./Proficiency in Art degree from Hacettepe University, Faculty of Fine Arts, Department of Graphic Design. Between 1985 and 2006, he worked at the same department respectively as a Research Assistant, Lecturer, and Assistant Professor. He held administrative roles, served on academic boards and commissions, and supervised numerous Master’s and Ph.D./Proficiency in Art theses. He has served as a jury member, published articles in the fields of art and design, presented papers at symposia, delivered conferences, chaired sessions, participated in projects, and conducted workshops. In addition to his eight solo exhibitions, he took part in numerous national and international exhibitions. He received awards in three international and one national competitions. His works are included in both domestic and international collections and museums. Since 2006, he has continued his academic career as a faculty member at the Near East University, Faculty of Fine Arts and Design.