With a new body of work created during her residency at Cité Internationale des Arts in Paris, Yaz Taşçı meets the audience at OG Gallery with Dark Flowers, her first solo exhibition in Türkiye. Through themes such as desire, intimacy, and companionship—centered around female figures—the exhibition explores the body’s fragile yet resilient memory.
OG Gallery hosts Dark Flowers, Yaz Taşçı’s debut solo exhibition in Turkey. The exhibition brings together new works produced over the course of more than a year during her residency at Cité Internationale des Arts in Paris. Drawing from the artist’s inner world, the works present narratives that are both delicate and persistent.
Dark Flowers creates a space where bodily contact demands both protection and inquiry, and where even the subtlest gestures carry powerful meaning. The exhibition reminds us that, at times, simply standing hand in hand—or the hope of watching a body that cannot fly—can itself be an act of resistance.
Collective emotions and the state of being together are at the heart of the artist’s practice. Taşçı transforms shared experiences, often formed around something as simple as a picnic blanket, into a painterly language. She reflects on the search for belonging through the tension between intimacy and distance.
Dark Flowers is on view at OG Gallery until July 5.
Visiting hours: Tuesday – Saturday, 11:00 AM – 6:00 PM.
Born in 1995, Yaz Taşçı explores themes such as desire, emotional closeness, and companionship in her figurative paintings, developed while studying at Beaux-Arts de Paris. Her works offer a poetic gaze on night, nature, and the body. Taşçı’s figurative expression is not confined to visible surfaces; instead, it constructs painterly scenes in which layered stories gradually accumulate and familiar faces slowly become estranged. The viewer is positioned as a witness within the painting, and the boundary between intimacy and surveillance becomes increasingly blurred.
Dark Flowers creates a space where bodily contact requires both preservation and questioning, where even the most delicate gestures carry profound meaning. The exhibition suggests that simply standing hand in hand—or holding on to the hope of watching a body that cannot fly—may, in itself, be a form of resistance.
