The gallery space of Öktem&Aykut is situated upon a traditional tea house the regulars of which tend to stick to rather conservative life ideals. In Where is Eros? Vol. 3 , this space will entertain Furni’s artistic production that were mostly materialized during her stay in Caferiye Han, an old traditional commercial building in historical Eminönü, central İstanbul, where Furni was in daily contact with her tea-lover neighbors that happened to specialize in bird care. Through her series in display, Furni invites us to look simultaneously towards both, atypical moments like bird care within the rigidly defined homosocial public spaces in Muslim societies and the exceptional use of patterns within Islamic architecture – hence to question whether there are any parallels between our unsatisfying theories of societal models that we havecome to develop to better understand Turkish society and our long eroded bones to Islamic visual traditions.
To provide us access to this very remote realm of discussion, Furni chiefly assumes watercolor drawings that automatically appeal to intuition and anticipation. The drawings involve little angel boys that make themselves visible over round tea trays and among Turkish tea glasses. These drawings are accompanied by a large and central piece of sculpture that very well reflect the vulnerability and gentle sense of space peculiar to her watercolor drawings. The sculpture that renders both inner and exterior architectural elements and bears references to both Islamic and Modern Western schools of architecture may be treated as both, a magnified version of an highly stylized spatial detail or a miniature of the framework of a magnificent building. Either case, it proves an offer for an abstraction of the social grace that reveals itself in collective moments that either occur less and less, or become hard to pick out with every passing generation.