Deniz Sağdıç

Deniz was born in 1982 in Mersin, Turkey. Lives and works in Istanbul..

Chandelier was considered as an object of social status until 90s especially in societies imitating the west like
mine. In addition to being a symbol of trust and cosiness of a family, like the other objects in the middle income
households, baroque chandeliers have become a symbol of moving up the social ladder. The only feature of
chandeliers cannot be lighting, in the societies’ point of view, they must have another use. In this regard, when
the income status improves, chandeliers are the first decorating objects to be purchased. Relative status of
the chandelier also shows the society’s relationship with money and the reflection of this to the home concept.
As the income status improves, home ceases to be an isolated place from the outside world and a secure place
for the family, and starts to become an outward-oriented place that is showcased around. Using a chandelier
in my work named “Money Talks”, I tried to reflect how economy impacts people’s lives, in parallel with the
indoor life. I removed the crystals on the chandelier and attached coins instead. The electrical motor hid in
middle piece enables all the chandelier to vibrate and the coins to hit each other and jingle. The system is
attached to a movement sensor. Therefore when approached to the chandelier, bulbs are lit and coins start
jingling, as if the money is actually ‘talk’ing with the audience. The work hints at the cultural habits of the
society I belong to, where the sound of money is deemed “sweet” and also makes a reference with its title, to
the common saying used in every capitalist country around the world to express how money opens every door.
Capitalism’s way of measuring success with money has impacted every society. People who want to show off
their rise to another income level, perhaps are still not rich enough to afford the mansions of their dreams, yet
they are able to adorn their houses with the symbol of that dream.