Güler Ates
White Shadow, 2012, C-type archival print, 29 x 29 cm; ©️ Güler Ates
Walking in Newness of Life
Commentary by Laura Popoviciu
She walks. Not according to the flesh, but according to the spirit (Romans 8:4). By faith, not by sight (2 Corinthians 5:7). She walks in love (Ephesians 5:2), guided by the spirit.
In Güler Ates’s White Shadow, a floating apparition cuts across the darkness: ethereal, mysterious, elusive. The delicate white tulle, which gracefully accompanies her, barely outlines her silhouette. Like incense, it only allows a quick glimpse of the turquoise silk garment that veils her body. She is in transit in this interplay between revealing and concealing. Inside her tightly wrapped fabric she makes subtle moves to dispel the darkness, while the artist waits with her camera for a flicker of natural light. Until then, the performer has time to reflect and ask questions such as: ‘who occupied these shadows before me?’.
Inside the grand rooms at Great Fosters, Egham, UK, where this photograph was taken, the traces of the past are absorbed into the heavy folds of the crimson patterned drapery, the damask covered walls, the intricately carved Quattrocento doors, and the thick Tudor brickwork. Here, the heavy steps of Henry VIII mingle with the subtle ones of Elizabeth I.
In her discreet yet haunting presence, Ates’s mysterious figure stands for those who once inhabited this space and also those to come—layers upon layers, garments over garments; all under one roof, taking refuge inside her veil. Ates often sees the fabric which her collaborator wears as a sanctuary or a tent, an anchor in the face of displacement, drawn from Ates’s own experience as a UK-based artist from the displaced Zaza Alevi community in Eastern Turkey.
The apostle Paul spent much of his time walking: from Antioch to Cyprus and Damascus, and from Jerusalem to Rome. Between East and West. Making tents and writing letters to the Gentiles. His apostleship encouraged a pathway from darkness to light, where darkness is overcome through baptism, ‘a death to sin’ which leads to a resurrection in and with Christ.
Ates’s figure gives a performance that uses light in the service of light. As heavy as her body may be, carrying the weight of a lifetime, the tulle is diaphanous, uplifting, bathed in light.
Wherever she may go, she is not alone. She has the White Shadow by her side to guide her as she ‘walks in newness of life’ (Romans 6:4).
References
Conversation with Güler Ates, February 2024
Marcelle Joseph Projects. 2011. ‘Güler Ates: Present and Absent, 2011, press release’ (Egham: Marcelle Joseph Projects)
O’Halloran, David. 2013. Burqas, Veils, and Hoodies: Identity and Representation (Melbourne: Walker Street Gallery and Arts Centre), pp. 9–10
Rosen, Aaron. 2019. ‘Güler Ates. Absorbing Histories’, in Brushes with Faith. Reflections and Conversations on Contemporary Art (Eugene: Cascade Books), pp. 119–29