Like the title of the exhibition Wallah, komm jetzt endlich!, Aydoslu's sculptures are also an echo of the road, of being on the move. They take up forms and materials that are a natural part of our everyday lives, but are rarely consciously recognised in their inconspicuousness. Leyla Aydoslu began her training at the Royal Academy of Fine Arts in Ghent, where she studied painting, but increasingly found the boundaries of the canvas limiting and decided to work sculpturally. The yardstick for her works is no longer the canvas, but the human body, just as it is the yardstick for the entire built world around us.
Aydoslu often uses materials found on the street as scaffolding for her works, whose rough surfaces usually still bear witness to their creation process. Through her installative approach, with her sculptures she creates a new place within the museum, which questions the position between space and object. She creates a reminiscence of the outside space, but her sculptures are not intimidating and forbidding despite their size and roughness. Rather, their special surface texture invites us to examine them more closely.
Leyla Aydoslu's sculptures take up space. They are self-confident without being dominant. Their volumes fill corners, connect walls or squeeze between floor and ceiling. Aydoslu's cork sculptures Selma and Henriette rise up to the ceiling of the exhibition space like two load-bearing steles. The cork is reminiscent of an asphalt surface. Helene Müller's Balcony looks like a small balcony in the style of the 1950s.
The Belgian artist Leyla Aydoslu is this year's New Folkwang Residence scholarship holder and has been working in the studio and residential building in the Eltingviertel in Essen since the summer.
