All objects, concepts, facts and events that exist in life are resized in a plastic language in accordance with the subjective perspectives of the artists. Artistic perception and associated productions differ in parallel with the combination of many social factors such as religion, culture and politics. In this context, all images that are subject to art should be evaluated according to the conditions of the age of the artists. “Woman”, positioned with different meanings in societies in almost every period of human history, has taken its place as an image in art from past to present. In prehistoric societies, the belief that women are sacred beings based on fertility: it is reflected in the cult of the mother goddess, which is one of the first ceramics of human history. However, with the formation of patriarchal societies, the approaches to the female gender proceed negatively. Especially in today’s Turkey; the woman is still marginalized and passivated. In our country, on the grounds of social traditions and beliefs! incidents such as violence against women and murder continue. In the scope of the research, by limiting the female image specific to ceramic art, current samples that transfer to the social position of women in Turkey took place. However, the focus of this work is ceramic artist Füsun Kavalcı, who has established her artistic productions for many years on the axis of woman image. The artist transferred the social roles imposed on the Turkish woman to her works with a minimalist expression in her imagination. Kavalcı has also brought technical and aesthetic contemporary expansions to this field by integrating materials such as neon and aluminium to its ceramics.
Keywords: Ceramic, Woman, image, art, history, society