ÇAĞDAŞ SANATTA POLİTİK HİCİVİN BİR ARACI: SERAMİK FİGÜRLER
AN INSTRUMENT OF POLITICAL SATIRE IN CONTEMPORARY ART: CERAMIC FIGURES

Summary/Abstract: Throughout history, art has been intertwined with social and political issues, serving at times as a tool for endorsing prevailing ideologies and at other times as a powerful means of critique. In addition to heroic narratives and propaganda-driven works, artistic practices have also incorporated forms of expression such as irony, humor, and, most notably, satire. Within this context, artistic production processes have created a strong discourse by intertwining elements of belief, economy, and politics with influential figures from these domains. Contemporary art, by drawing from various disciplines, has developed a multifaceted language of expression, addressing social issues while frequently centering political figures to offer a critical perspective. As in other branches of the visual arts, ceramic art has also engaged with political references through satirical and caricaturized approaches. As one of the oldest forms of expression in human history, ceramic figures have played a significant role in conveying religious, mythological, and social themes, as well as political messages. However, particularly from the early 20th century onward, with the rise of modern and contemporary art movements, figurative ceramic production has increasingly become a prominent medium for social and political critique. The ceramic depictions of political figures have, at times, adhered to a realistic approach, while in other instances, they have been reinterpreted through deformation techniques to acquire a critical dimension. This approach was especially embraced by artists associated with the Pop Art and Funk Art movements and continues to manifest in diverse styles within the dynamics of contemporary art. This study examines artists and works that engage with political figures in ceramic art from a critical perspective. In this regard, the works of Robert Arneson, Patti Warashina, Keiko Fukazawa, Michelle Erickson and Hong Jinshi, who utilize ceramics as a medium of satire, are analyzed. The study focuses on how these artists have developed a distinctive language of expression within the framework of social critique.

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