Chestnuts and New Year Tram

The smell of roasting chestnuts and the festive Istiklal Street tram is a wonderful way to welcome 2026.

I laid out this quick-sculpt at the site and put another hour into it back in the studio. Another cold day!

Chestnuts

The smell of kestane kebap (roasted chestnuts) is Istanbul’s unofficial signal that winter has arrived. This street food tradition is a centuries-old bridge between Anatolian agriculture and Ottoman urban life.

Historical Roots

The "Bread Tree": Because Turkey—specifically the nearby Bursa region—is a top global producer, chestnuts were historically known as the "bread of the mountains." They provided an affordable, high-energy staple for the city's working class during the Ottoman era.

The Street "Kebab": The name kestane kebap comes from the traditional method of scoring the shell and roasting the nut over a charcoal mangal (brazier), treating the chestnut with the same reverence as grilled meat.

The Modern Experience

The Red Carts: Today’s vendors use iconic red-and-gold carts. In a seasonal cycle, many of these vendors switch from selling grilled corn in the summer to chestnuts as soon as the temperature drops.

The Ritual: The nuts are cross-cut to allow steam to escape, roasted until the shells burst open, and served in small paper bags. For many, these bags serve a dual purpose as snacks and temporary hand-warmers.

T2 Taksim-Tünel Nostalgia Tramway

The iconic red tram on Istiklal Street, officially known as the T2 Taksim-Tünel Nostalgia Tramway, is one of Istanbul's most enduring symbols. Its history reflects the broader transformation of the city from an Ottoman capital to a modern metropolis.

Early Beginnings (1869–1914)

The history of trams in Istanbul began with horse-drawn carriages in 1869. The first tracks on what was then known as Grande Rue de Pera (today’s Istiklal Street) were laid in the late 19th century. These early trams were essential for connecting the cosmopolitan Galata and Pera districts to the rest of the city.

The Electric Era (1914–1961)

In 1914, the system was electrified. These were the classic red and white cars we see today. For decades, they were the primary mode of transport for Istanbulites. However, as the city grew and automobile traffic increased, the trams began to be seen as an obstacle to "modern" progress. The last electric tram on the European side was taken out of service on January 12, 1961, replaced by trolleybuses and motor buses.

The "Nostalgic" Revival (1990–Present)

After nearly 30 years of absence, the tram made a comeback.

1990: Istiklal Street was pedestrianized, and the city decided to restore the old tram line as a "nostalgic" heritage route.

Restoration: Many of the cars currently in use are original 1914 models that were painstakingly restored after being found in museums or storage.

Modern Update (2024): In May 2024, the city began introducing battery-powered versions of the red trams. While they look identical to the 100-year-old originals (retaining the wooden floors and reversible seats), they allow the city to eventually remove the overhead power lines that often get tangled with flags and decorations during holidays.

Backgammon - Istanbul

These gentlemen took a break from selling their antiques on a blustery afternoon for a few games of the preferred board-game in Istanbul - Backgammon.

I laid out this quick-sculpt in the neighborhood and put another hour into it at the apartment. Cold day!

History

In Istanbul, backgammon (known locally as Tavla) is more than just a game; it is a fundamental pillar of social life and a living connection to the city's Byzantine and Ottoman past.

Before it was the Turkish tavla, the game existed in Constantinople as Tabula. This Roman/Byzantine ancestor was played by emperors like Zeno (r. 474–491 AD), whose games were famously recorded in epigrams.

Archaeological finds in sites like Ephesus show that "tables" games were already ingrained in the culture of Anatolia long before the arrival of the Ottomans. When the Turks captured Istanbul in 1453, they didn't just inherit a city; they inherited a deeply rooted gaming culture that blended with Persian traditions of Nard.

Culture

The "golden age" of backgammon in Istanbul began in the 1550s with the opening of the first coffeehouses in the district of Tahtakale.

A Public Living Room: Coffeehouses (kahvehane) quickly became the heart of Istanbul's social life. While men gathered to drink coffee and discuss politics, the rhythmic clacking of dice on wooden boards became the city's background noise.

Symbolism: In Ottoman culture, the board was often seen as a microcosm of life:

24 points represent the hours of the day.

30 checkers represent the days of the month.

The dice represent the element of fate (Kismet).

Craftsmanship: Istanbul became a hub for master woodworkers who created exquisite boards using walnut, rosewood, and mother-of-pearl (sedef) inlays—a tradition that still thrives in the Grand Bazaar today.

Modern Culture: "Tavla" vs. Western Backgammon

Today, the game is ubiquitous in Istanbul, from the posh cafes of Nişantaşı to the gritty tea houses of Fatih or street games sculpted here. However, "Turkish Tavla" differs slightly from the international version:

• Speed and Sound: Players in Istanbul play at a blistering pace, often rolling and moving with one hand while holding a glass of tea (ince belli) in the other.

• The Doubling Cube: You will rarely see the doubling cube (used in Western competitive play) in a traditional Istanbul cafe; the Turkish game relies on a series of matches where the loser traditionally pays for the tea.

• Dice Etiquette: It is common for players to "speak" to the dice or call out the numbers in a mix of Persian and Turkish (e.g., Dü-Şeş for 6-2 or Hep-Yek for 1-1).
  

Project Eleven

Origin

In the rural landscapes of Tunisia, I encountered a phrase that would eventually shape my worldview: "Numero Hadesh"—Number Eleven. Initially, it was a riddle. When I asked locals how to travel between locations, the answer was invariably "Number Eleven." For months, I scanned for bus routes or marked vehicles, finding none.

The breakthrough came when I finally paid attention to the body language accompanying the advice: index and middle fingers pointing down, swinging back and forth. Two legs. Two distinct "ones" moving side-by-side. "Numero Hadesh" wasn't a vehicle; it was the act of walking.

That realization took on profound meaning when I met my wife in Tunisia. We married to walk the path of life together, and the number 11 became our symbol. From our marriage date to the serendipity of catching the clock at 11:11, the image of parallel elevens represents two individuals moving forward, side-by-side, in distinct but shared unity.

Project 11 is born from this philosophy. It is a conscious decision to walk through life with open eyes, taking the time to recognize the wonders that connect us. As an artist, I see sculpture in everything, but the true vision of this project is to bring others along for the walk—to expand our understanding, explore new vantage points, and share the beauty that surrounds us all.

Introducing Project Eleven: A Journey of Art, Place, and Connection

Project Eleven is an immersive artistic adventure that fuses intentional exploration with the power of sculpture. By deeply immersing ourselves in the rich culture of a city or the raw beauty of a natural landscape, we capture the essence of "place" through the simple, grounding act of walking.

But this is more than just a studio practice—it is a shared experience. Over the course of several weeks or months, we engage the community through live plein-air sculpting sessions, behind-the-scenes documentation, and on-site technical studies. The journey can culminate in a transformative gallery exhibition designed to be a contemplative sanctuary—a space that sparks wonder and prompts us to reflect on our own impact within the community and the environment that surrounds us.

Core Subject and Themes

The project will feature a collection of sculptures that draw inspiration from life and the inherent sculptural qualities of the observed world.

Primary Themes:

• Impermanence and Change: Sculptures will utilize materials that evoke a sense of history, transformation, or motion (e.g., patinated metals, fired raw clays, balanced kinetic elements) to reflect the constant flux of nature and life.

• Sculpting Our World: With a focus on process and experience, plein-air sculpting captures the spontaneity of life while recognizing the sculpture that surrounds us but is often unseen.

• Interconnectedness: The arrangement and forms of the sculptures will suggest a dialogue between individual pieces, illustrating how discrete elements contribute to a cohesive, interdependent community life.

Target Audience

The project is intended for a broad audience, including:

• Individuals interested in the creative process, specifically related to the interaction and recognition of sculpture in everyday life.

• Art enthusiasts and collectors interested in contemporary sculpture and cultural documentation.

• Students and educators in art, history, and sculptural process.

Project Structure

The project will be structured into three components: historic narrative, photos/sketches of the theme, and sculptural ‘maquettes’ with scaled pieces, guiding the visitor through a sensory and conceptual journey:

I. Context (Historic Narrative)

• Focus: Provide context for the current observed reality.

• Key Messages: Recognition of historic context to explore the change or permanence of the observed theme.

II. Process (Capturing a Sculptural Snapshot)

• Focus: Document methods and experience in identifying and capturing a theme in clay.

• Key Messages: A focus on experience, movement, and the capture of a moment in life.

III. Sculptural Products (Physical Pieces)

• Focus: Three-dimensional representations of life.

• Key Messages: Artist and audience interpretation of an event to spark thoughtfulness on observing the wonders of our surroundings and the sculpture in our world.

Essential Information / Key Messages

• Sculpture surrounds and influences us in ways that are often not recognized.

• The process of sculpting is as fulfilling as the final results.

• Final products of the sculpting process elicit emotions and motivations that can only be interpreted by the viewer.

Conclusion

"Project Eleven" offers a timely and compelling artistic inquiry into our relationship with our environment. By presenting life through tactile sculpture, contextual narrative, and documented process, the project aims to inspire awe, foster introspection, and reinforce the vital connection prompting visitors to reflect on their own place and impact within the community.