Poetry and art are two powerful mediums that nurture our understanding of the world. In her book Con Fuoco (Orlando Art Publishing), Hatice Utkan Özden delves into themes of passion, transformation, and the quest for meaning, taking her readers on a remarkable journey. As a poet and contemporary art writer, she draws attention with her multidisciplinary approach, weaving art and literature into a cohesive narrative.
In this conversation, we discussed the creation of Con Fuoco, Özden’s poetic exploration of language, and the interplay between contemporary art and poetry. We also explored the poet’s reinterpretation of art and life, questioning how poetry, amidst the fast-paced modern world, can serve as both a discovery and a tool for resistance.
The term Con Fuoco refers to a passionate style of playing in music. What does it signify for you in the context of this book, and what led you to choose it as the title?
Indeed, Con Fuoco means playing passionately in music, but in the context of this book, it represents the intensity of passion we feel toward something, even to the point of idolizing it. I enjoy deconstructing words and using them beyond their conventional meanings. For me, it’s a playful approach. I encountered this term during one of my spiritual explorations.
Con Fuoco narrates both an end and a beginning and poses a profound question: What can one do after dedicating themselves passionately to something? The poems within the book offer the answers, making Con Fuoco a conceptual tale of “birth-death-rebirth.” It embodies the cycle of something being born, dying, and then reemerging in a transformed form—something universal that resonates with everyone.
In the poem a new language was discovered, the phrase “a new language was discovered” stands out. What does this new language symbolize? Are you always in search of a new language in poetry?
This phrase actually stems from a news article I once posted on the Artdog website, detailing archaeologists’ discovery of an ancient language. As a graduate of English and French Translation Studies with extensive training in language theory and literary translation, I was fascinated by this.
It struck me that even in our contemporary world, we can still unearth new languages, hinting at the existence of undiscovered realms. I was intrigued by the depth of this language: How abstract were its terms? Were there unique words, and how were they expressed?
The discovery of a new language symbolizes our ongoing journey toward uncovering hidden truths. I view poetry as a similar quest. Language evolves alongside consciousness, and as our awareness expands, so does language. I am open to this exploration and eager to discover more expressive possibilities.
How do you perceive the language and structure of contemporary poetry?
Contemporary poets are embracing this era as a space for experimentation. We now witness poetry blending with performances and visual art, and many poets believe this is how poetry should find its meaning.
Historically, modern poetry often had to navigate a challenging landscape, caught between mainstream poetry and postmodernism. This pushed both to their limits. Contemporary poetry, however, thrives on greater freedom and versatility.
Yet, it also faces challenges. When poetry becomes overly abstract, experimental, or inconsistent, it risks losing its essence. Thus, the language and structure of contemporary poetry are fluid, akin to James Elkins’ metaphor for art writing as a seven-headed serpent. Contemporary poetry can be an artwork, a conceptual endeavor, a performance, a singular word, or a spiritual expression—never just one thing.
This dynamic realm draws from everything: art movements, everyday life, emotions, monotony, and even the mundane. It’s a liberating space where meaning no longer follows traditional semiotic rules, and poetry finds inspiration in diverse and ever-changing sources.
Themes of transformation and inner journeys recur in your poetry. Are these reflections of personal experiences, or do they represent a more universal quest?
I believe inner exploration is inherently universal, a quest that touches everyone. Life challenges us to go deeper, asking, “How far can you delve within?” For me, poetry becomes a means of discovery, a way to explore the flexibility and variability of language. This pursuit contributes significantly to personal and universal transformation.
Colors seem to play a significant symbolic role in Con Fuoco. For instance, black appears repeatedly. What does using colors in poetic expression mean to you?
Colors carry meaning and frequency. My fascination with their symbolic depth was greatly influenced by Hilma af Klint’s use of Goethe’s Theory of Colors in her paintings. Published in 1810, Goethe’s work explored human perception of colors and their inherent nature.
In her works, af Klint linked yellow to masculinity, blue to femininity, and their union to green, symbolizing the origins of the universe. Her Eros series, dominated by pink, and later her Ten Largest series, rich with blue, yellow, and pink, beautifully exemplify this. The spiritual and alchemical connotations of blue, for instance, inspired me to use colors in my poetry as clues to the truths beyond the visible.
For me, black signifies nothingness or obliteration, blue represents the sacred, and white embodies the power of light.
As both a poet and a contemporary art writer, how do you view the intersection of poetry and art? How do these two fields complement each other?
Art writing often adheres to a specific format, but I believe it can be poetic. Art writing and creative writing harmonize beautifully. As an art writer, I see myself as a bridge between the artist and society. Without the practices of art writers, artworks and artists might struggle to find resonance.
Poetry, too, offers a remarkable space for interpreting and deepening the understanding of art. It enriches the search for meaning inherent in artistic expression.
Are there artists whose works inspire you to write poetry?
Absolutely. Joan Mitchell, Georgia O’Keeffe, Agnes Pelton, Dorothea Tanning, Leonora Carrington, and Dora Maar are incredibly poetic in their unique ways. For my first poetry book, A Love Mystery, I paired my English poems with visual works by artists. This interplay continues to inspire me.
Contemporary artists such as Özlem Yılmaz, Gülnihal Kalfa, Merve Zeybek, Eda Soylu, and Gizem Akkoyunluoğlu also profoundly influence my visual and poetic language.
Do you think poetry holds its ground in today’s fast-paced, consumption-driven world? Can it be a form of resistance or a language of defiance?
Poetry can certainly be a form of resistance, but I feel we’ve forgotten its essence. In our culture, poetry has historically been a refined way of expressing delicate truths, emotions, and spirituality. It demands a language of precision and subtlety.
Contrary to expectations, this age of rapid consumption might actually enhance poetry’s presence. I see it less as resistance and more as a return to our core. Additionally, poets are now venturing into other domains, presenting their poetry as art or conceptual works, thereby strengthening contemporary poetry’s existence.
