Master of carving and relief

It is my desire to hear the voice of God every time I hit the spear with the diamond chisel in order to live the advice my master gave me, if it were morning as soon as possible.

Ozan Karabudak

Can you briefly tell us about the founding story of Dadaloğlu Marble Handicrafts and your share in this story?

When my father was invited to America for business reasons because of his art, he founded a marble workshop in İzmir called New York Marble upon his return. I also grew up with my father. Initially, we had a classical marble workshop, but I loved the art of stone carving so much that I focused on this area. I first started writing on marble, then turned to relief work. Over time, this passion drew me in even more. With the closure of our workshop, I continued to work with stone and founded Dadaloğlu Marble Handicrafts individually. I worked as an instructor in the Arscap European Union project, which included Turkey, Italy and Spain, in order to keep the traditional stone carving culture alive and not to be forgotten. On this occasion, I would like to thank my Dean and everyone who contributed for deeming me worthy of this task. Realizing the positive impact of the master-apprentice relationship on students, I am currently teaching the Architectural Stone Carving course at Erciyes University, Department of Fine Arts.

How do you evaluate the current importance and future of handicrafts?

I see it as a profession that is about to be forgotten. To be honest, I don’t see a very bright future. This is a detailed topic. A book could be written just on this subject. It is not an issue that cannot be resolved if desired. If I had to summarize it in one sentence, our traditional hand carving craft is about to disappear. This means the extinction of a culture.

Can you give information about 3D carving and relief techniques?

This is something that can be learned by trial and error, that is, by working. It’s also about knowing what to do. Before you start machining, you need to know what you are going to do there, that is, you need to see the end of the machining, before hitting the machining with the chisel. First of all, loving your job, patience, and as a result of hard work, success rises automatically like the sun. When you finish your work, neither material nor anything else matters. You become truly identified with your work. Because it is a piece of you now. That pleasure is very beautiful, it is a completely different feeling.

What motifs and patterns do you use in your works?

I use all kinds of motifs and patterns, especially traditional ones, to ensure that our cultural heritage continues and reaches future generations.

How would you describe your own artistic style? 

My artistic style aims to build a bridge from the past to the future, tightly adhering to our roots so that our traditional and cultural heritage is not forgotten. By combining inspiration from the past with today’s aesthetics, we aim to transfer the riches and values of our past to future generations in our works of art.

Could you share your favorite projects and their features? For what purpose and how did you use marble in these projects?

Somuncu Baba Complex Mihrabs Darende /MALATYA

I used Antalya Limestone.

Area of use: Mosque Mihrab

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Bornova Government House and War of Independence Scenes Reliefs

Bornova / İZMİR

I used Antalya Limestone.

Since the stone was white and the details were not clear, I etched it and made the lines more obvious.

A a hand-embroidered work depicting Atatürk’s Relief in Kocatepe and scenes of the War of Independence.

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Four Square Fountains I have built, including İzzet Baysal University and Bolu Center.

BOLU

I especially used White Marmara Marble.

Usage Area: Hayrat Fountains / Water fountains

What would you like to say about your passion and contributions to art?

I can express my passion for art with these words.

It is my desire to hear the voice of God every time I hit the spear with the diamond chisel in order to live the advice my master gave me, if it were morning as soon as possible.

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If I had to list one of the works that I have contributed to art, I cannot pass without mentioning the Elazığ New Mosque, where I had the chance to make hand-carved marble doors and the Mihrab and Pulpit from limestone, which I had the chance to make only with the power of my wrist. Also, to say something about our traditional handicrafts, there is really a lot to talk about. I don’t think it would fit into an interview. But it is an issue that should be emphasized and should definitely not be neglected.