Reconstructed from branches of charred beech, Forest recalls a Japanese wood finishing technique called Shou Sugi Ban where fire, a destructive treatment, renders wood more durable. Fire is extinguished when the wood is evenly burned to create a carbonized outer layer. This charred layer protects the interior tissue not only against rot and decay, but also against fire itself.

A work that emerged at a time of darkness, Forest is a work about solitude, repair and collective resistance.

When Forest travelled to Ludwigsburg Germany, it responded to the city’s history: an attempt to form a community in solitude in the face of an imminent threat posed by the black plague and the baroque desire to control nature in the form of geometric garden designs.

Special thanks to  Károly Aliotti, Nilüfer Şaşmazer, Mehmet Yücel and Galerist.

Zwei Positionen: Sibel Horada und Buket Savci, Kunstverein Ludwigsburg, 2018
catalogue text by Julia Connert (english and german)

6 May 2017
In Istanbul, spring arrives with a show devoted to darkness
Kaya Genç
Daily Sabah

7 March 2019
Ormanlardan galeri, müze, bienal ve dijital alanlara: Güncel sanatta ağaçlar
Ulya Soley
K24

26 Haziran 2018
Sibel Horada ve Buket Savcı ile İki Pozisyon Hakkında
Interview with  Çelenk Bafra
Açık Radyo: Hariçten Sanat