http://www.yearofwonders.net/new-gallery daily 0.75 2015-04-27 http://www.yearofwonders.net/blog daily 0.75 2015-01-21 http://www.yearofwonders.net/new-gallery-2 daily 0.75 2014-12-02 http://www.yearofwonders.net/blog-wells daily 0.75 2025-05-09 http://www.yearofwonders.net/blog-wells/500-7j8fn monthly 0.5 2013-10-14 https://images.squarespace-cdn.com/content/v1/4f9adbe124ac5df956fdf900/1335672153315-MUYIMZ0QSS3DAHS2JYFS/4f9adbe224ac5df956fdf94a.jpeg Blog - Five Hundred – For the Win! https://images.squarespace-cdn.com/content/v1/4f9adbe124ac5df956fdf900/1335672154177-H6NWOPX7WZMI7FV99ZTH/4f9adbe224ac5df956fdf94b.jpeg Blog - Five Hundred – For the Win! http://www.yearofwonders.net/blog-wells/parker-fitzgerald-n4je4 monthly 0.5 2012-04-29 https://images.squarespace-cdn.com/content/v1/4f9adbe124ac5df956fdf900/1335549635316-8DGP14E22ROT3IGULENV/tumblr_lznz58s0tm1qzu15ho1_1280.jpg Blog - Parker Fitzgerald http://www.yearofwonders.net/blog-wells/category/Casual+Shoots monthly 0.5 http://www.yearofwonders.net/blog-wells/tag/camera monthly 0.5 http://www.yearofwonders.net/blog-wells/tag/lunch monthly 0.5 http://www.yearofwonders.net/blog-wells/tag/photography monthly 0.5 http://www.yearofwonders.net/enter daily 1.0 2014-11-15 http://www.yearofwonders.net/enter-2 daily 0.75 2014-11-15 http://www.yearofwonders.net/contact daily 0.75 2014-11-15 https://images.squarespace-cdn.com/content/v1/4f9adbe124ac5df956fdf900/1344631508108-G0OV9L9CBWL9T9BYPG3O/download.jpeg Contact http://www.yearofwonders.net/concealing-and-revealing-predictions daily 0.75 2015-01-08 https://images.squarespace-cdn.com/content/v1/5461b902e4b068e8b9f75c21/1420746815736-R1JC69KNGZNB4Y50FC90/image-asset.jpeg Istanbul Tarot https://images.squarespace-cdn.com/content/v1/5461b902e4b068e8b9f75c21/1419988841243-DVUO9O1CVDVB8LNOY3NU/image-asset.jpeg Istanbul Tarot https://images.squarespace-cdn.com/content/v1/5461b902e4b068e8b9f75c21/1420746687186-73GB69Z0MODFUZ04K2F6/The-steps-web.jpg Istanbul Tarot https://images.squarespace-cdn.com/content/v1/5461b902e4b068e8b9f75c21/1420746216489-GZP75BXUYTB5XAP4X6KY/image-asset.jpeg Istanbul Tarot https://images.squarespace-cdn.com/content/v1/5461b902e4b068e8b9f75c21/1420746454294-B3QJ4997JLFMQFLNOWR6/image-asset.jpeg Istanbul Tarot https://images.squarespace-cdn.com/content/v1/5461b902e4b068e8b9f75c21/1420746319686-KN4X8HEO9E6KKL7Y2WYM/image-asset.jpeg Istanbul Tarot http://www.yearofwonders.net/about-1 daily 0.75 2014-12-07 https://images.squarespace-cdn.com/content/v1/5461b902e4b068e8b9f75c21/1417012759500-LBPSQZ43QRGROVZGPPSS/image-asset.jpeg A Fulbright in Turkey   A F U L B R I G H T I N T U R K E Y In 2008 I completed my MFA in graphic design at Rhode Island School of Design. Just before graduating I attended a Fulbright information session on campus. It was 5 years before I knew where I wanted to go for my Fulbright and why. I was looking for a place where design was embedded in the culture, essential to heritage and identity and respected as an art form; In Turkey I found a rich tradition of visual design from antiquity to the present expressing the values and aspirations that define the culture and translating them into myriad craft traditions, such as textiles, ceramics (including tiles), metalwork and the book arts. Turkey is saturated with design and Turks consider design integral to Turkish identity. For centuries Turkey was an Islamic state, and in the Islamic world there existed a prohibition against the figurative representation of the human form in religious and public art; such representation was considered to tread dangerously close to idolatry. So while artists outside Islam visually depicted human characters to communicate their cultural narratives, artists within Islam developed alternative strategies. They used repeating sequences of line, color and shape to create a visual language through pattern rich in symbolism. They elaborated and embellished letter forms for maximum visual impact and beauty, transforming words into visual imagery to tell their stories and often embedded them into their patterns. During the Seljuk and Ottoman periods these non-representational designs replaced the figurative imagery of religious fresco paintings and mosaics in early christian churches in Turkey. Many examples of this approach to visual communication still exist in Turkey's Ottoman palaces and mosques. Modern Turkey was founded as a secular republic 90 years ago on the remains of the Ottoman Empire, a vast amalgamation of diverse cultures with disparate traditions, values, attitudes, and sacred beliefs. The Empire grew from rapid geographic expansion and subjugation of civilizations with diverse cultures, traditions, values and beliefs and the Empire’s perpetuation depended on successfully assimilating its subjugated populations into a cohesive whole and ensuring the orderly transfer of power through uncontested succession. In Ottoman design, pattern evokes these vital goals of state by integrating varied visual motifs into sequences that comprise a unified scheme. These motifs repeat rhythmically across expanses of space, disappearing beyond their frames to suggest infinite continuation. It is delicious to consider the uninterrupted patterns in Ottoman design to represent an idealized empire of diverse cultures united into a harmonious and unending whole. Today pattern suffuses Turkey, appearing in the visual embellishment of buildings, rugs and tiles and permeating the rituals and practices of everyday life. It is present in the habitual wearing of headscarves; in the public baths, or hamams; in the response of the faithful to the call of the muezzin; and in the incessant haggling in the marketplaces and bazaars. My Fulbright project will use the visual patterns of Ottoman design as a point of departure for broader exploration of the patterns of social practices and behavior that define modern Turkey’s rich and complex culture. I will research and document Ottoman patterns; then I will document and record repeated practices, customs and rituals of everyday life in Turkey, organizing and connecting them visually to show the patterns of modern experience. Finally I will integrate Ottoman patterns with these patterns of modern experience, relating Turkey’s ancient heritage to its evolving identity. I plan to use design to define and connect widespread rituals and practices of everyday life to larger schemes of common experience. Each Fulbright project rests on an affiliation with an academic institution or a business entity in the host country. Such affiliations are established by Fulbright applicants in advance of submitting the grant application. I traveled to Turkey for the first time in the spring of 2013 to make contacts there that would serve as possible affiliations for my project, and I was fortunate to find institutions to support both its Ottoman and contemporary angles. The Iznik Foundation will support my exploration of Ottoman pattern. The Foundation’s mission is to revive Ottoman design and recover and preserve ceramics technology developed at Iznik between 1400 – 1700 and the Foundation possesses a design studio and showrooms in Istanbul, as well as a ceramics production house in Iznik. I will begin my grant period in Istanbul investigating the Foundation’s library and design archives to better understand Ottoman design history, symbolism and iconography learning how the Foundation’s designers update and adapt Ottoman designs to contemporary design projects. At the Foundation’s production house in Iznik I will learn about the craft of tile painting and the technical production of pigments using tile glazes. Throughout this time period I also will be observing and documenting Ottoman tile patterns in palaces and mosques in Istanbul and Iznik. While I’m studying Ottoman patterns, I will be tracking recurring details of everyday life in the streets, city squares and marketplaces of Istanbul and Iznik, documenting my findings through photography and film. I’ll also be prowling the flea markets and junk shops of the neighborhoods of Beyoglu and Besiktas in Istanbul, looking there for important evidence of late 20th and early 21st century life in Turkey in photographs and personal objects. These artifacts offer evidence of lives and memories commonly lived, reflecting the patterns of collective experience. They also document Turkey’s transition over decades to an increasingly westernized, secular society, a significant part of its evolving identity. I plan to collect these images and objects and sequence and integrate them with my own photographs and films to show patterns in modern life, juxtaposing and comparing these with ancient Ottoman patterns to visually connect past and present. To support this work I have established a second affiliation with Bahçeşehir University in Istanbul to help me examine and understand Turkish culture and identity and identify and interpret the rituals and practices I follow. This will be essential for me to define the visual patterns I create. Interchanges with the communities that host me will be essential to establish a cross-cultural context for my research and visual work. The Iznik Foundation has suggested that I deliver lectures at their showrooms to share my explorations of Ottoman design with their patrons and professional associates. Having taught graphic design at Berry College in the United States, I will give lectures at Bahçeşehir University on selected topics in design, juxtaposing eastern and western perspectives, and lead workshops to share methods of design research and authorship with colleagues and students. There is also a possibility I will be able to exhibit my work at Bahçeşehir University. At the end of my grant period I will publicly present the research and visual results of my project through talks at the Iznik Foundation and Bahçeşehir University. I intend to use this grant to advance the practice of design outside commercial definitions. I hope to publicly exhibit the work I create in Turkey and use it in my teaching once I return to the United States to build recognition that design reveals how cultures understand, organize and construct themselves. In showing us the values and priorities that propel us forward, design tells us who we are. http://www.yearofwonders.net/new-page-1 daily 0.75 2015-05-22 https://images.squarespace-cdn.com/content/v1/5461b902e4b068e8b9f75c21/1419016959962-UMADZ1BGNP5EILF1W4W3/DSCN0011web2.jpg Topkapi Palace, Istanbul https://images.squarespace-cdn.com/content/v1/5461b902e4b068e8b9f75c21/1419017898902-DOSGMJX5TX4HTP8Q4DG6/image-asset.jpeg Topkapi Palace, Istanbul https://images.squarespace-cdn.com/content/v1/5461b902e4b068e8b9f75c21/1419016520654-LTVV3SX8YYJGPIXZ4H5Y/image-asset.jpeg Topkapi Palace, Istanbul https://images.squarespace-cdn.com/content/v1/5461b902e4b068e8b9f75c21/1419023893748-OGAITMTC7LE5H4B4RCA7/image-asset.jpeg Topkapi Palace, Istanbul https://images.squarespace-cdn.com/content/v1/5461b902e4b068e8b9f75c21/1419024304149-GFL5T9F8H2QN21H1ZIAD/image-asset.jpeg Topkapi Palace, Istanbul 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https://images.squarespace-cdn.com/content/v1/5461b902e4b068e8b9f75c21/1418512115599-NAM13I4V4J231U3SXSR8/RUmi+and+hatai.jpg Design iconography, motifs Alternating symmetrical rumis and palm leaves surrounding a central hatai D E S I G N I C O N O G R A P H Y , M O T I F S Seljuk and early Ottoman ceramics and tile production utilized glazed earthenware. But by the 1470s high-quality vessels of pure white quartz paste were producedat Iznik, painted with bright pigments and fixed with clear glazes. By 1550 imperial Ottoman tile production, then earthenware, was transferred from the capital at Istanbul to Iznik to serve the ambitious building projects of Sultan Suleyman the Magnificent, including the refurbishment of the Dome of the Rock at Jerusalem (1545 – 1552), the construction of the Suleymaniye mosque and the madrasah of Suleyman the Magnificent in Damascus (1554), and the Suleymaniye mosque in Istanbul (1557). With the move to Iznik, glazed earthenware production was replaced with quartz production. The medium of quartz provided a pure white field for the application of designs, which provided a brighter field for the pigments that had been used on the more drab earthen-colored clay of the earlier technology. As interest in tiles awakened in the mid 1500s, a new range of floral motifs was introduced to design, including tulips, hyacinths, carnations, roses, serrated saz leaves, overblown lotus flowers, pomegranates and others. Ottoman design adhered to rigid conventions and Ottoman tile patterns used a limited range of visual motifs of stylized plant forms, each with recognized symbolic meaning. Ottoman designs arranged these motifs in sequences that repeated regularly across expanses of pristine white space and disappeared beyond their frames. This detail suggested they continued infinitely, without interruption, so that their effect was to create an image of a perfect and and immortal Garden, which metaphorically represented Paradise. I. Rumis Turks in Central Asia had a close relationship with animals, admiring their strength and ferocity. Animals embodied fertility, valor, courage and nobility for many early civilizations. The early Seljuks adopted animal forms as visual symbols of such concepts. The central Anatolian design tradition stylized animal forms to become decorative elements. The rumi form is a winglike structure, similar to that of a bird or even such mythological beasts such as sphinxes and dragons. After the conversion of the Turks to Islam, the depiction of naturalistic animal forms was rare, especially in Ottoman art. As the rumi became more stylized in the 15th century, it lost its animal appearance and became an ornament in itself, surviving in Ottoman design as a recurring motif. At this point the rumi references the idea of the animal without depicting it literally; in this sense a true visual language is developing. Rumi motifs were used according to established rules. They were designed (unless symmetrical) along curved lines and in the form of spirals, always heading in the same direction. Where lines intersect, the rumi is always placed on the thinner line. A certain distance is left between motifs. Where there is more than one rumi, they do not trespass on each other's lines. As they developed as an Ottoman motif rumis appeared in various shapes and conceptions, sometimes plain, sometimes lobed, sometimes foliated. II. Hatais The hatai motif originated in central asia and developed under Chinese art. It is characterized by a profusion of floral patterns and trefoils. The hatai was first seen in the seventh and ninth centuries by the Uygur Turks and was later simplified by the Anatolian Seljuks. During the 15th century hatais were characterized by folding leaves of flowers; in the 16th century the dimensions enlarged and and the leaves and petals became more profuse, creating more ornamental forms. III. Saz Yolu The saz yolu motif can be traced to the far east via Iran. The motif attained prominence under Suleiman the Magnificent. It is characterized by long, serrated leaves in combination with profusely decorated hatais. The backbone or organizing axis of the composition is defined by the thickest line weight, with other secondary and tertiary motifs painted under the dominant line. IV. Clouds Clouds are among the most cherished of ornaments in Turkish design. They were adopted from the far east (and therefore often referred to as "Chinese clouds") and popularized during the 16th century in the court of Istanbul under Bayezid II. V. Cintimani The chintamani sequence consists of a pair of parallel undulating lines alternating with a triangular configuration of spots or disks. This sequence is frequent in Ottoman designs from the 15th century on. Originating in the Far East, the sequence originally was said to represented the three teachings of the Buddha. But for the Ottoman Turks who adopted it, the sequence referenced the power and virility of wild animals, specifically tigers and leopards. Woven into the textiles that clothed the sultans and the crown princes of the court, the sequence was intended to impart animal attributes to the wearer. The two parallel lines have been interpreted to symbolize tiger stripes or alternatively lightning or clouds, while the spots symbolize leopard spots or sun disks or moons. VI. Flowers a. tulip b. carnation c. rose d. hyacinth       https://images.squarespace-cdn.com/content/v1/5461b902e4b068e8b9f75c21/1418512022153-E5LA0X6J8D615VKQ0JTS/image-asset.jpeg Design iconography, motifs Tulip flanked by serrated saz yolu leaves and clouds https://images.squarespace-cdn.com/content/v1/5461b902e4b068e8b9f75c21/1418530341134-526YFTW3BIKVCXH8AZAO/symmetrical-rumi.jpg Design iconography, motifs Symmetrical rumi https://images.squarespace-cdn.com/content/v1/5461b902e4b068e8b9f75c21/1418530407060-CQ67JERFAU5D4CFU4RUH/IMG_1758.jpg Design iconography, motifs Design with rumis https://images.squarespace-cdn.com/content/v1/5461b902e4b068e8b9f75c21/1423686342366-7TZTC0YZD6HMJFG68LW1/IMG_1815-balls.jpg Design iconography, motifs Chintamani http://www.yearofwonders.net/about-1-3 daily 0.75 2015-01-21 https://images.squarespace-cdn.com/content/v1/5461b902e4b068e8b9f75c21/1421449169523-5YPIV5KKD0NXNAHT6GBR/image-asset.jpeg Project concepts, ideas Traditional Ottoman tile patterns incorporating Nike, Starbucks, Apple and Coca-cola logos (project details here)   P R O J E C T C O N C E P T S A N D I D E A S Elements common to patterns in Ottoman design and contemporary everyday life I. Repetition Patterns are defined by repetition and the repetition of patterns is predictable, offering certainty in the face of uncertainty, even order in the midst of chaos. I first had this thought when I was putting together my project proposal: that in the turmoil of conquering and subjugating civilizations and trying to defend and hold an empire together, the Ottoman rulers lived a precarious existence. So how comforting to surround themselves with motifs that repeated infinitely in predictable sequences. Do I resort to patterned behaviors myself in the face of the uncertainty of navigating a foreign culture? If so, what are they? 1. I go to Iznik Foundation every day 2. I'm drawn to stores where I know the products (I try to resist but sometimes it's a relief to surrender) 3. when I'm uncertain or feeling exposed I head for Starbucks. I know exactly whet to expect there (a branded and therefore predictable experience)   II. The infinite   III. Navigation of time Time is inherent in patterns. As patterns are defined by repeating motifs, a. each occurrence of the repeating motif is a visual event; in connecting them, patterns form a timeline. b. in the repetition of their motifs, patterns have a frequency c. importantly, Ottoman patterns are infinite. (Does this mean there is no time in them?) Before the establishment of the secular republic in 1923 there were no clocks in Turkey. Think about what that means – the only way of moving through the day so that you get things done on any kind of schedule is by paying attention to the movements of the sun and the call to prayers. The call becomes a timekeeper, like setting an alarm clock 5 times a day to remind people of the most important responsibility of human existence.   IV. Navigation of space As they unfold across the 2D plane, patterns provide a path we can "read" and follow – and one that holds no surprises in its predictable repetition. This offers structure and comfort. I'm always trying to locate myself to give myself context in an unfamiliar landscape. This helps me define where I'm going, which allows me to move forward. In Istanbul, most people spend a significant portion of each day performing navigation. Time and mobility have been the two things I think about most here, and something we are all obsessed with. The traffic is terrible. It can take an hour and a half to travel 5 miles through the city; 3-hour commutes to and from work are not uncommon and in the process you will be on at least 2 forms of transportation. Strategies evolve: travel under ground or by water is best to avoid traffic congestion on the city streets – being on a bus only means you're in the same traffic jam as everyone else on the road. Maybe some of my projects are about obstacle courses. Or things that show the passage of time in the aggregate. Like I could shave my head and photograph myself everyday to document regrowth – from day to day you don't see much but at the end of a period of time there is change. (Ha ha.) Or it takes how may minutes to smoke a cigarette; how many butts quantify all the minutes in a day? Collect, display.   V. Concealing and Revealing (covering and uncovering) Ottoman tiles cover surfaces that separate and confine. This struck me profoundly when I visited Top Kapi Palace and realized it was essentially a fortress and designed to wall off the people inside. Some people were probably born, lived and died within the palace walls without ever leaving. The tiles made this confinement a little more palatable. They also probably provided the closest thing to contact with nature that people, particularly the inhabitants of the harem, ever experienced. No wonder paradise is imagined as a garden. Even while they cover, Ottoman patterns reveal the divine, making the invisible visible (the infinite, paradise). A. Covering in everyday life 1. Dress: headscarves, jihab, etc I am fascinated by the headscarves. Because despite what is covered, considerable effort is made to suggest vast riches concealed beneath. Hair piled high, suggesting luxuriant tressesdistorting and elongating the shape of the head. I am reminded of that thing about how the body partially clad is more alluring than wholly nude because of the potency of engaging the viewer's imagination. So perhaps the goal is subverted as a whole! 2. Curtained windows (Turks are obsessed with this: the first week I was here my landlady, who lives upstairs, wrote me a letter asking me to please draw my curtains at night so people could not see into the apartment – I had flung them all open to get some light in the place, but obviously this was not socially acceptable) Note: Erdogan has famously said "A woman without covering is like a house without a curtain" B. Uncovering in everyday life a. Exposed pvc piping a feature of all rental apartments; affords ready access for cheap repairs (the responsibility of tenant) b. Dumpsters on residential street corners for household trash disposal; buildings don't have trash pick-up, so people bring their garbage out to the street each day. Other people pick through to see what they can find. c. Laundry. From apartment hunting I learned that while all Turkish households have washing machines, none of them have dryers. This is because in Turkey people don't really think machine drying clothing is healthful. And in winter months, when the heat is very dry, they like to have laundry hanging inside where it humidifies the air. But when possible laundry is hung outside to dry. And there is is for all the world to see: socks and underwear, sexy nightgowns, bras. It's a very intimate revelation.Laundry hangsoff balconies for your neighbors' appreciation and even over the street between buildings for passersby to observe. Neighbors will even rig a line between buildings and share it.   VI. Appropriating / Reclaiming Space Two points regarding Ottoman tiles. First, they extend the space of palaces and mosques into the realm of the infinite and divine, providing a window through which we see a perfect world. Second, the Ottoman Empire was the result of rapid geographic expansion, or the appropriation of space and the subjugation of the peoples who occupied them, peoples with diverse cultures, traditions, values and beliefs. The Ottoman Empire’s perpetuation depended on successfully assimilating its subjugated populations into a cohesive whole and ensuring the orderly transfer of power through uncontested succession. In Ottoman design, pattern evokes these vital goals of state by integrating varied visual motifs into sequences that comprise a unified scheme. These motifs repeat rhythmically across expanses of space, disappearing beyond their frames to suggest infinite continuation. It is delicious to consider the uninterrupted patterns in Ottoman design to represent an idealized empire of diverse cultures united into a harmonious and unending whole. Reclaiming space in everyday life 1. People walking in the gutters (narrow sidewalks, people don’t move over) 2. cars driving on sidewalks (vehicles in a hurry) 3. balconies as extensions of interior spaces. Balconies often become a junk room, for extra storage – sometimes even enclosed for this purpose. I looked at one apartment where the laundry washer and the microwave were out on the balcony, and it wasn't enclosed at all, but open to the elements. 4. tattoos; in particular, the Ataturk signature: makes use of the body for political message 5. graffiti often political and seen in spaces whose ownership/purposes are in dispute   *From these thoughts general concepts emerge for projects: STRUCTURE, ARCHITECTURE rules order building blocks >>security, protection REPETITION recognition; a sense of the familiar a sense of certainty – knowing what to expect predictability PERMANENCE survival TIME frequency marking the elapse of time MAPPING space connections and relationships COVERING / UNCOVERING or CONCEALING / REVEALING IDENTITY (this is the big one) individual and collective; within patterns, individual motifs stand alone but are also part of a greater overarching design; you can’t see the sum of the parts until you look beyond the individual grouping inclusion and exclusion belonging if you repudiate your history and your heritage, who are you? and if you don't know who you are how do you move forward?     http://www.yearofwonders.net/new-page-2 daily 0.75 2015-01-16 https://images.squarespace-cdn.com/content/v1/5461b902e4b068e8b9f75c21/1421172808403-KMSBEQ946TPJG8FLNFDX/image-asset.jpeg Paradise Now https://images.squarespace-cdn.com/content/v1/5461b902e4b068e8b9f75c21/1421176033216-DPT41KLWCRL2QDN7PVJ5/OttomanNike1.jpg Paradise Now https://images.squarespace-cdn.com/content/v1/5461b902e4b068e8b9f75c21/1421371743143-K74OQ8FHIJXFQU5TQV11/ottoman-Coke-1C.jpg Paradise Now https://images.squarespace-cdn.com/content/v1/5461b902e4b068e8b9f75c21/1421450006284-P77AHAM4NG107QQHKZ0S/ottoman-Starbx-Nike-FINAL.jpg Paradise Now https://images.squarespace-cdn.com/content/v1/5461b902e4b068e8b9f75c21/1421449205131-HGACFIIP3CYBQ4V3XW8O/coke.Nike.Apple.Starbx.jpg Paradise Now http://www.yearofwonders.net/rustem-pasa-mosque daily 0.75 2015-05-19 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