Interview: The Subtle Power of Women Depicted in Eastern-Inspired Artwork by Artist
Many women acquire the skill to restrain their feelings—not from a deficiency of strength, but because they’ve been conditioned by society to express themselves with caution. This concept is reflected in the artistry of Turkish creator Zarife Gizem İbrahimoğlu, whose imagery of women conveys nuanced feelings and a quiet resilience beneath their serene appearances.
İbrahimoğlu finds her muse in Eastern traditions, textiles, and classical art, frequently illustrating her subjects in kimonos or amidst vibrant fabrics. Her appreciation for East Asian crafts and aesthetics blossomed during her tenure at Studio Ito Design Milano in 2015, where she collaborated intimately with Japanese creators. Subsequently, from 2015 to 2019, she further delved into these themes at Imrahor Istanbul, allowing her to study Eastern textiles, furniture, and artistry from a close perspective. These encounters continually influence her creations, with recurring themes and elements that embody her inspirations throughout her journey.
İbrahimoğlu’s art is not merely visually captivating; each canvas narrates a tale. Utilizing graphite, charcoal, and acrylics, İbrahimoğlu produces portraits of women whom she perceives as either extensions or reflections of herself. Through her work, she strives to express a spectrum of emotions, particularly spotlighting the emotional transitions and internal journeys that women confront in the contemporary landscape.
We engaged with İbrahimoğlu to learn more about her inspirations and her experiences as an artist. Take a look at her breathtaking artwork below and continue reading for My Modern Met’s exclusive conversation.
Artist Zarife Gizem İbrahimoğlu’s breathtaking portrayals of women encapsulate their subtle emotions and quiet strength. Continue reading to discover more about her artistry.
How did you initially become involved in art, and what led you to uncover your distinctive style?
Since childhood, painting has been my passion. However, for many years, I didn’t perceive it as a viable pursuit, so I opted for a different route and trained as an interior architect. I spent years in that profession, yet there was always a sense of something absent. Gradually, I recognized that painting was my true desire. Reconnecting with art didn’t feel like a choice—it was akin to rediscovering my identity. My artistic style developed organically throughout this journey. The more I stripped things away, the more distinctly I could perceive my unique voice.
Your artwork frequently delves into the emotions and psychological transformations experienced by women. How do you determine which feelings or states to portray in your pieces?
In truth, they select me. I’m captivated by the unvoiced—emotions that society frequently encourages women to conceal. At times it’s yearning, at others it’s fury, or that haunting tranquility following heartbreak. I strive to depict these instances with raw honesty, as I believe there is strength in their authenticity.
Do you view your art as a means of self-reflection or as a commentary on broader societal matters, particularly concerning women?
In many respects, it embodies both aspects. My creations often originate from a profoundly personal standpoint, yet I’ve come to understand that these sentiments resonate with a multitude of other women as well. For an extended period, the internal experiences of women have been either neglected or overly romanticized. Through my work, I aim to illuminate that space—honestly, embracing all its complexities, contradictions, and intensity. Ultimately, it serves as my attempt to restore a sense of belonging—for myself and for others.
How has Eastern culture impacted your artwork, especially in your technique for creating portraits?
Eastern aesthetics have enlightened me on the value of restraint and imperfection. Philosophies like wabi-sabi intrigue me—the appreciation of the incomplete, the subtle, the ephemeral. This manifests in portraiture as deliberate asymmetry, subdued colors, or the choice to leave segments of the canvas “unfinished.” These spaces convey as much meaning as the brushwork.
Your art is rich in symbolism. Could you elucidate the significance of these symbols for you and how they integrate into your work?
To me, symbols represent visual manifestations of emotion. I draw particular inspiration from Japanese methods like shibori and sashiko.
In shibori, the fabric is folded, twisted, and tied before unveiling patterns that are both purposeful and full of surprises. I approach my figures similarly, weaving in symbols that can be overt or concealed, meant to be uncovered over time. The repetitive stitching of sashiko evokes themes of healing, patience, and quiet strength. I endeavor to infuse the essence of these techniques into my artistry, creating an avenue for viewers to discover their own interpretations within the details.
What is your process like when you embark on a new portrait? How do you realize your ideas?
It always commences with a mood, not a visage. I cultivate from an emotion, sometimes merely a phrase or a piece of music, allowing the composition to evolve around that essence. The process involves substantial layering, scraping away, and reworking. I don’t pursue perfection—I pursue presence.