10 Questions with Mutlu Yilmazer

Mutlu Yılmazer, an independent and experimental researcher, embodies various creative facets—he's a musician, an Ebru artist, a composer, and beyond. Life led him to discover the Ney, an ancient Sufi musical instrument, in 1999. Since then, he's delved into the forgotten depths of humanity's cultural heritage, adopting the Ney as a guiding force in updating Pythagorean music theory.

Since 2005, Mutlu has devoted himself to practising Ebru (marbling), a historical painting technique that may trace its roots to the Japanese Suminagashi. Ebru, one possible translati0n is the '(sur)face of water' in Persian, representing an art form distinguished amidst the array of techniques humanity has crafted—from primitive fingerprints to modern digital capabilities. The concept of painting or drawing on water may seem unconventional, yet Ebru captivates us with its remarkable technique and enchanting results.

Over the course of human history, diverse cultures have contributed to Ebru's evolution into the rich contemporary art form it stands as today—a true embodiment of the world's cultural heritage, acknowledged by its inclusion in UNESCO's Intangible Cultural Heritage of Humanity list. Beyond his musical endeavours, Mutlu creates multi-dimensional, fractal, and otherworldly abstract Ebru paintings, predominantly on paper. Employing traditional mixing techniques, harnessing water dynamics, and a touch of 'something more,' his artistry breathes life into the intersection of tradition and innovation.

www.neyzen.de | @yilmazermutlu

ARTIST STATEMENT

Since 2005, Mutlu Yilmazer has passionately engaged in the art of marbling, a once-celebrated technique that has largely faded from contemporary practice. After receiving classical training in Turkish marbling, he embarked on a journey to innovate within this ancient art form.

His commitment to experimenting with various techniques has led to a diverse body of work that challenges traditional boundaries and explores multiple dimensions of expression. While his work prominently features multi-dimensional roses, these pieces serve as a central theme among many others that reflect a rich exploration of colour, texture, and form.

Art, for Mutlu, serves as a medium to translate intangible concepts into observable expressions. By infusing the concept of Hado into his works, he offers viewers a glimpse into the realms of energy and interconnectedness, creating a bridge between the spiritual and the tangible. The symbolic rose represents consciousness, inviting audiences to embark on contemplative journeys and explore their own experiences of subtle energies. He also draws upon the notion of water's memory, reflecting how marbling captures the essence of fluidity and the imprint of our emotions.

To keep the legacy of marbling alive, he has dedicated himself to spreading awareness through workshops and lectures, sharing knowledge and passion with others. He is also in the process of creating a Zine that delves into the intricacies of marbling, offering insights into both its history and innovative approaches.

Additionally, he is exploring the intersection of visual art and music through video installations that combine his diverse works with original soundscapes. This fusion of mediums allows for an immersive experience, inviting audiences to explore the works from a new perspective.

Ultimately, Mutlu Yilmazer's mission is to breathe new life into the art of marbling, fostering a dialogue between tradition and innovation and encouraging viewers to discover the beauty within the metaphysical interactions that his art evokes. By sharing the narratives of Ebru's evolution and the shared experiences of artists throughout history, he hopes to cultivate empathy and appreciation for diverse traditions, highlighting the universal nature of human creativity.

Ebrulpture 2, ebru, 35x50 cm, 2014 © Mutlu Yilmazer

INTERVIEW

First of all, introduce yourself to our readers. Who are you, and how did you start experimenting with art?

Hi, my name is Mutlu Yılmazer. First and foremost, I am an independent researcher with a wide range of interests spanning philosophy, religion, spirituality, history, quantum phenomena, megaliths, and gothic architecture, among many other areas. I have a keen eye for exploring diverse fields in my research. I am also a music lover, a Ney player, a composer, and a lateral thinker.
My creative pursuits extend to the ancient art of Ebru, or in other words marbling, where I explore the fascinating interplay between tradition and innovation. My journey into art, however, began with music, which has profoundly shaped my way of thinking and lifestyle. In 1999, during my Ney lessons in Izmir with my mentor, Sencer Derya, I was introduced to the captivating world of Ebru art, along with the rich culture and literature surrounding both Ebru and the Ney. This immersion into two deeply traditional yet timeless art forms marked the beginning of a lifelong creative journey.

Şahika, ebru, 50x70 cm, 2011 © Mutlu Yilmazer

How did your journey into Ebru, or marbling, begin in 2005, and what drew you to this historic art form?

I have been in love with Ebru since my childhood. Although I cannot remember exactly how old I was, I vividly recall seeing an Ebru picture on the wall for the first time during a family visit. I was mesmerized by its beauty and hypnotized by its flowing intricate patterns. That night, I sat quietly, in my "good boy" mode, staring at the artwork for hours. I had no idea what that picture was back then, as Ebru wasn't as popular as it is today, but its magic stayed with me.
Many years later, with a serendipitous encounter during my Ney lessons in 1999. These lessons were held in a historic building where Ebru master Nuri Pinar and his student's mesmerizing marbling works, which were drying all over the premises where I practiced music, reignited my fascination. The Natural aesthetics and beauty of the works and mysterious patterns that are based on the art form's connection to water and its fluidity have captivated me.
However, my Ney teacher wisely advised me to focus on mastering the Ney first, which I did. For years, I remained an admirer and collector of Ebru. It wasn't until 2005 that my journey into Ebru began more formally. After moving to Germany in 2002, I finally had the chance to learn classical Turkish Ebru at the Rumi Art Institute in Rotterdam.
What also drew me most to this historic art form was its rich cultural heritage and the way it transcends time and geography. At first, I wasn't fully aware of the fact that Ebru's journey — possibly, from its roots in Japan as Suminagashi, through Persia, Anatolia, and eventually to Europe—reflects the interconnectedness of cultures. This realization deepened my appreciation for Ebru, as it embodies the flow of ideas and traditions across the world. In recognition of its cultural significance, Ebru was inscribed on UNESCO's Representative List of Intangible Cultural Heritage of Humanity in 2014.
Ebru's meditative process, where colours float on water and transform into intricate patterns, feels like a dialogue between the artist and nature itself. It invites you to embrace spontaneity and the mystical qualities of water. To me, the Ebru tub is like a touch screen where you can play freely, blending intention with the unexpected.

You are also a musician and composer who works with the Ney. How does your musical background influence your visual art practice?

My musical background with the Ney profoundly influences my Ebru practice—and, increasingly, the reverse is true as well. Both art forms share a meditative quality and require a deep connection to the present moment. Playing the Ney taught me patience, discipline, and the importance of flow—qualities that are equally essential in Ebru.
The Ney, with its haunting melodies and spiritual essence, has instilled in me a profound appreciation for the interconnectedness of artistic expressions.
The improvisational nature of musical composition, where emotions and intuitions guide the flow of melodies, mirrors the spontaneous and fluid essence of Ebru. Both realms—music and Ebru—require a delicate balance between intention and surrender to the creative process.
The melodic vibrations of the Ney and the structured yet ethereal compositions I've explored with the Rasttar (a guitar innovation) find resonance in the fluid motions of colours on water in Ebru.
In essence, the connection between my musical background and visual artistry is a convergence of sensory experiences. The harmonies of music intersect with the fluidity and enchantment of Ebru, creating a symphony of artistic expression that transcends individual realms. Together, they resonate as a singular, unified, multisensory experience—one that continues to inspire and shape my creative journey.

Flamerose, ebru, 35x50 cm, 2014 © Mutlu Yilmazer

Salyangoz, ebru, 50x70 cm, 2011 © Mutlu Yilmazer

You've described your work as a bridge between tradition and innovation. Can you elaborate on how you've modernized the traditional techniques of Ebru?

Ebru is deeply rooted in tradition, and I hold immense respect for its historical techniques and materials, such as horsehair brushes, ox gall, and earth pigments. Beyond the physical tools, Ebru carries a rich cultural heritage, including its literature, societal respect, and credibility, which I strive to preserve.
However, I also believe in the motto: "Take the heritage, use it, develop it, and deliver it." This philosophy guides my approach to modernizing Ebru while maintaining its foundational essence as a contemporary art form.
Through experimentation, I've discovered two new techniques that push the boundaries of traditional Ebru. These techniques allow me to explore contemporary themes and patterns, evoking psychedelic, multidimensional, and abstract compositions. While staying true to the essence of Ebru, I aim to expand its visual language to resonate with modern audiences.
On the other hand, I worked on unorthodox examples as well which means like not using the whole tub surface but instead, a multidimensional composition in the middle of the paper surface, or, breaking some taboos, welcoming water caused mistakes like bubbles which are traditionally taken as a failure but I find them very meaningful in the composition.
Additionally, my practice has led me to extraordinary experiences that deepen my connection to the art form. For instance, I've noticed interactions that feel almost telepathic, as if the water itself possesses a consciousness. Later on, I found out that it aligns with the concept of Hado, an ancient Japanese philosophy that emphasizes the vibrational nature of existence. Understanding these vibrational energies has refined my approach to Ebru, particularly in balancing intention and chance. The interplay between the artist's will and the water's natural flow mirrors the harmony of tradition and innovation, may be reinventing the very old tradition at the same time and making it contemporary again.
By combining traditional methods with modern perspectives, I aim to create works that honour the past while contributing something new to the art form. This ensures that Ebru remains relevant in the modern world, not as a relic of history but as a living, evolving art form that bridges the gap between tradition and innovation.

What is your creative process like? Do you have any particular routine when working on a new piece, and how do you go from the first idea to the final outcome?

Well, traditionally, rituals are involved before creating Ebru, and I deeply honour these practices. Over time, I've added my own personal ritual, particularly just before laying the paper to achieve the final outcome—especially for my multidimensional Roses.
My creative process begins with a sense of curiosity and excitement. Preparing the Ebru tub is a meditative act in itself: I carefully select the colours and materials, ensuring everything is in harmony. From there, I allow myself to enter a deeply intuitive and meditative state, as 99% of the final image is shaped by the dynamics of water. The process is highly fluid and experimental. I work with different tools, such as metal rods and combs, to create intricate patterns.
However, the interaction between my mental state and the water ultimately guides the shapes and movements. The concept of Hado plays a central role in this process, as I focus on aligning my inner state with the vibrational energies of the materials. This synchronization brings a sense of vitality to the work, allowing the designs to feel alive and dynamic. Once the colours are floating on the water's surface and the patterns have emerged, I transfer the design onto paper or other materials. This moment of transfer is magical—it's the culmination of the collaboration between myself and the water. Every piece feels unique, unpredictable, and even mysterious at times, yet it always carries its own distinct beauty.
Ultimately, my creative process is a blend of tradition, intuition, and experimentation. It's a dialogue between intention and chance, where the water's fluid nature and my artistic vision come together to create something truly special.

Head Cut, ebru, 50x70 cm, 2014 © Mutlu Yilmazer

Aysel Roses 2, ebru, 50x70 cm, 2016 © Mutlu Yilmazer

Your work often references water's memory and the fluidity of emotions. How do these concepts inform your creative process?

Water is at the heart of Ebru—not only as a physical medium but also as a profound metaphor for memory and emotion. My main intention has been to create multidimensional Roses, allowing the process to unfold without any controlled physical manipulation. At this stage, the concept of Hado—the vibrational energy of intention—guides the creative flow, shaping the manifestation process in ways that feel both intuitive and deeply connected to the medium.
The way colours float and interact on the water's surface mirrors the fluidity of human emotions—constantly shifting, evolving, and impossible to pin down. This idea deeply informs my creative process, encouraging me to embrace impermanence, unpredictability, and chance. I see the Ebru tub as a microcosm of water, where its ever-changing dynamics reflect the complexity of our inner worlds.
An essential aspect of my process is the deliberate absence of control during the manifestation. By shaking the paper randomly and allowing the water to "decide" the outcome, I invite the medium to express its own memory or consciousness. The resulting multidimensional Rose becomes a symbol of consciousness—layered, unpredictable, and emergent. This randomness, combined with intention, mirrors the interplay between chaos and order, much like the way consciousness arises from the seemingly chaotic interactions of the mind and the world around us.
Ultimately, the memory of water and its emotional fluidity make each piece a collaboration—not only between myself and the medium, but also between the artwork and the observer. Each creation becomes a reflection of impermanence, a reminder of the beauty found in transience, and a testament to the unseen forces—intention, randomness, and consciousness—that shape our reality.

You're working on video installations combining Ebru with original soundscapes. How do you envision these installations enhancing the viewer's experience of your work?

The video installations are designed to enhance the multidimensionality of my works, offering viewers entirely new perspectives and emotional experiences. The multidimensional nature of Ebru already creates different visions and observations, often awakening rare feelings and perceptions that vary depending on the viewer's perspective. By incorporating video, I can enrich this experience even further, using the camera as a "third eye" to explore angles and details that would otherwise go unnoticed through a static, frontal view.
Through the movement of the camera, the works are transformed into dynamic, ever-changing landscapes. This creates an immersive experience where the viewer becomes part of the artwork's fluidity, observing how light, motion, and detail interplay in ways that are impossible to perceive in traditional formats. Adding original soundscapes deepens this exploration, creating a multisensory journey. The audio elements amplify the emotional resonance of the visuals, guiding the viewer toward introspection and discovery.
These installations also encourage the phenomenon of pareidolization—the tendency to see recognizable shapes and patterns in abstract forms. This interplay between randomness and perception invites viewers to engage deeply with the work, discovering personal visions and meanings as they immerse themselves in the moment. Each individual's experience becomes unique, shaped by their own imagination and emotional state. In a way, the installations offer a few minutes of singularity, where the viewer is fully present and attuned to the art.
One of the most exciting aspects of these installations is their ability to reveal intricate details that would otherwise remain hidden. The camera captures subtle movements, delicate interactions between water and pigment, and patterns that evolve over time. Every viewing becomes a new experience—there's always a fresh detail, an unexpected moment, or a playful surprise waiting to be discovered.
Additionally, I'm experimenting with combining AI applications into both the soundscapes and video scenes. This integration empowers the installations with enhanced visual richness and emotional depth, creating a harmonious blend of traditional techniques, modern technology, and artistic intuition. By merging these elements, the installations provide an innovative way of experiencing Ebru, allowing viewers to connect with the art form on a deeper, more transformative level.
I hope that these video installations are an invitation to embrace the beauty of impermanence, introspection, and personal discovery. They offer a space where art, technology, and emotion converge, creating a profound and immersive experience that resonates long after the moment has passed.

Shadow of the Rose, ebru, 50x70 cm, 2013 © Mutlu Yilmazer

Ultimately, what emotions or messages do you hope viewers take away from experiencing your art?

I hope my art evokes unique emotions and leaves viewers with deeply personal and transformative experiences. The natural aesthetics and beauty of the works are to be resonated differently with each beholder, and what's truly special is that the feelings can change every time they encounter the art.
One of the messages I aim to communicate is the mystical and otherworldly nature of the work. There's an unknown, foreign, almost extra-terrestrial quality in the details—something mysterious yet inviting and worth exploring. However, I don't seek to impose a single interpretation or emotion. Instead, I encourage viewers to discover their own patterns within the fluid forms, often driven by pareidolia. This freedom of interpretation is central to the experience, as it allows viewers to independently uncover something unpredictable and meaningful to them.
While the shapes and soundscapes may feel unearthly and even surreal, they are approachable and rooted in natural beauty and aesthetics. I hope this evokes feelings of happiness, curiosity, and wonder, as well as a sense of peace and connection to the unknown. The experience challenges viewers to interpret the mysterious landscapes, but it is also deeply rewarding. It's about curiosity, discovery, and the joy of exploring something unfamiliar yet beautiful.
At its core, my art is an invitation to pause, reflect, and embrace the moment. It encourages viewers to connect with their emotions and imagination, offering a space for introspection and self-discovery. Each piece becomes a journey of curiosity and wonder, where the only limit is the viewer's own perception and willingness to explore.
Ultimately, I hope my work inspires a sense of awe and connection—to the art, to the natural world, and to the mysteries of existence. It's about finding beauty in the unknown and embracing the transformative power of art to touch the soul in ways that words cannot.

From creating a zine on marbling to exploring new intersections of visual art and music, what upcoming projects are you most excited about?

I'm excited about several upcoming projects that allow me to explore new dimensions of creativity. One of these is Ebru-zine, which I hope to complete by the end of 2025. This project is close to my heart, as it will delve into the artistry of Ebru, sharing its depth and beauty in a tangible, accessible form.
I also dream of participating in artist residencies, where I can fully immerse myself in new environments and work on completely fresh projects. These residencies would offer an opportunity to merge my background in music theory with visual art, creating innovative intersections between the two forms.
In addition, I'm currently working on a music album that explores the timelessness of sound. This album will feature a fascinating blend of ancient and modern elements—incorporating the Ney, an ancient wind instrument with deeply spiritual tones, alongside Rasttar, a genre that embraces contemporary, avant-garde expressions. Through this project, I aim to showcase how music transcends time and space, connecting the past with the present in a harmonious and innovative way.

Paradice Selfies 1, ebru, 50x70 cm, 2014 © Mutlu Yilmazer

Lastly, what are you working on now? Do you have any upcoming projects, exhibitions, or publications you would like to share with our readers?

Right now, I'm deeply engaged in a scientific theatre project, where I'm focusing on visualizing intricate details to bring the concept to life. It's an exciting challenge that allows me to merge science, art, and storytelling into a cohesive and immersive experience. Beyond that, I spend time creating music on an almost daily basis, constantly experimenting and refining my sound. I will continue working on Ebru, Rasttar and Ney, trying to push the boundaries of both art forms through ongoing experiments and research. These practices allow me to explore the interplay of tradition and innovation, keeping my creative process alive and evolving.
As for upcoming projects, I'm looking forward to sharing more about the zine, music album, and theatre project as they develop. Each of these endeavours represents a unique way for me to connect with audiences, combining visual and auditory art to create multisensory, transformative experiences. Stay tuned for exhibitions, performances, and publications as they emerge!

Artist’s Talk

Al-Tiba9 Interviews is a promotional platform for artists to articulate their vision and engage them with our diverse readership through a published art dialogue. The artists are interviewed by Mohamed Benhadj, the founder & curator of Al-Tiba9, to highlight their artistic careers and introduce them to the international contemporary art scene across our vast network of museums, galleries, art professionals, art dealers, collectors, and art lovers across the globe.

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