-You received your education as a graphic design concentrator in the State Academy of Fine Arts, or with its current name Mimar Sinan Fine Arts “University”. The fact that the ‘academy’ was turned into a ‘faculty’ in itself, demonstrates how arts education in Turkey evolved. How do you evaluate the condition of art schools in your country? If you has unlimited authority, what would you change first?

The State Academy of Fine Arts was turned into Mimar Sinan one year before my graduation. My dream of graduating the academy was ruined once because of the migration during my high school years. I remember being very upset. I linked this inexplicable situation to the narrow perspectives of high bureaucrats who approach our education system as a “train or ferry schedule”. I still think so.

Nonetheless, I am not pessimistic. Art education in Turkey can be maintained thanks to the endless efforts of valuable names like Süleyman Saim Tekcan, who used to be my teacher in college, Professor Tevfik Fikret Uçar, who runs the Graphics Department in Anadolu University, etc. If I had unlimited power, I would rid all the institutions that require special talent from the menatlity of ‘cooperations’.

- In our country that can never reach the desired level of profession institutions and their qualities, you witnessed the foundation of The Association of Illustrators in Turkey. After a few glamorous and impressive exhibitions, this association anounced that it would stop functioning. What was the main reason behind this? Why do the visual arts people in Turkey have difficulty in coming together?

Lack of consciousness. This is the shortest way I can explain this sad situation. It is because the principle of “Unity brings Power” is only used in conversations. The members were supposed to see each other as colleagues, not rivals. Defending one’s benefit should have meant defending all’s.

In today’s economic conditions, people prefer to save their own boat and inadvertently force the other captains to do the same. However, rivalry and competition should be based on quality, not on prices.

- You started working as an independent illustrator after the period you worked for advertisement, and for 7 years you performed with your pencil, brush and paints. When 1996 came, you switched to computers with a radical decision. Can you share your experiences from this transition period which must have had its problems s well as its advantages?

I am slightly stubborn about almost everything. I have needed support from many people even for a small development in my life. And I always regretted wasting so much time afterwards. This is how I switched to computers. My friend’s persuasion efforts lasted for a year. I was dazzled by the opportunities that computers presented. Limitless trial ways. You can fix your mistakes after 1,2,... even 5 days. On the other hand, I could not even touch my own work. I could not hold it in my hand, and look at it from every corner of the room. I could not frame it and hang it on my wall. An illustration on paper was a living object for me. However, even if what was on the computer was mine, I could not touch it or feel it. A strange feeling...
I got used to the computer in not such a long time... And it got used to me.

I can never forget; it had been two days since I purchased my first computer. I was called from an agency and the work was described. I told my friend who was the art director that I just got a computer and did not know which buttons to press, so I could not take the job. I could not convince him, and had to get the job. With my friend who convinced me about computers, we produced work that would win awards in the UK months later.

I told how everyting should be like. He kept pushing the buttons. That was my hardest experience. I could not touch it...

- If you had the chance of time travel, when, where and with whom would you want to share a table with? What would you want to ask them or tell them the most?

Vincent Van Gogh. What do his eyes see... I adore Van Gogh. In addition to that, I would have loved to talk to those ‘primitives’ who drew on the walls of the Lascaux cave. I, the ‘modern’ being, was influenced by my books and the ones that preceded me. What was their inspiration?

- Are you interested in cinema? If yes, what kinds of movies and which directors do you find closer to yourself in terms of visual persperctive?

I am only interested as a viewer. I love documentaries. I love the style of Steven Spielberg.

- Illustrator Sahin Karakoc, who was our guest on the third issue of Bak Magazine said: “I would stock up paper, brushes, and canvas because theyr were higher quality back then, and paint constantly” when we asked him what he would have done if he had the chance to go back to his 20s with his current experience. How would you use this opportunity?

I would have been sailing for 27 years...Being a sailor was my chilhood dream. Traveling, seeing, knowing...Not by surfing the internet and looking at postcards. To see what people do and how they do it, get to know them, see the beauty of the world and live through it...

- If there was a country in the world called Erol Gunes; where would it be, what kind of a flag it would have, what would its people do and what language would they speak? What would be the first article of its Constitution?

It would definitely be in the North. It has have a climate with moderate summers and tough winters. I love winter and snow. An insanity from my childhood... The flag would have been skyblue. It is the symbol of cleanliness and eternity for me. People would speak in a language that everyone understands, and could do any job that would not harm the environment. The first article would be; “This is our home”.

- The dreams of youth leave their place to reality and life struggle as you grow up and as families are formed. As someone who had been thorugh this experince, what would you advise to art students in universities in Turkey?

First, I advise them to talk to people from this area. Dreams of school rarely come true in real life. And, in relevant schools, although there are illustration sections, illustration is not taught properly. It is impossible to teach anyway. Just good drawing does not suffice. Young candidates have to follow the professionals constantly. They can reach incredible sources through Internet. They have to observe a work on a certain subject and think of alternative ways to do it. I definitely advise them to work as an intern in an advertisement agency during the summer. They will learn how things are done. So, they would know what is being asked of them and how to do things when they become illustrators. Also, they should not be offended because this is a job that you start as a ‘rookie’ like every other job. It is to be remembered that their expertise (that I still have not reached), and the good money can only be achieved through the amount of work and effort.

- Can you tell us the names of the ilustrators and painters that you like and follow in Turkey and worldwide? What are their distinguishing features according to you?

David Kimble, the expert on airbrush of cross section cars and mechanical pieces. Amazing effort and fragile labor... I have always been jealous of David Grove. And, why would I lie, I would like to be like Şahin Karakoç.

- Theme of the 12th issue of Bak Magazine is “Red”. What does this word mean to you? What do you picture when you think of Red.

I would like to congratulate the creators of Red Awards now that I have the opportunity. When “Red” did not exist, I would have thought of gypsy wedding, wine, blood, rose etc. Now I think of the award ceremony...