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Most Days are Cloudy

(2022-2023)


 

Most Days are Cloudy is an attempt at reconstructing the mood of a locale (Port Meadow) by translating its essential qualities. It is a meditation on the silver-ness of the meadow.

 

The project started with an extended research period where I familiarised myself with the landscape through various actions and processes of documentation. This was followed by a period of reflection on what a locale is, describing to myself the qualities that distinguish Port Meadow as a place of its own - particularly focusing on colour and mood. Finally, the 'essential qualities' were translated and constructed in a new space, as an installation. The space of the installation became a site to house and display objects from the first two parts of the project, the images and objects of documentation and meditation.

Special thanks to Harry, Matty, Simon, Chris, Eve, Rachel and Spike for patiently helping.

click here to view accompanying thesis

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Demande de retrait
des encombrants*

(2023)


 

"60 people submitted images and texts via e-mail between the 3rd and 25th of September 2022. The submissions were made into postcards and posted at random to participants."

"3-25 Eylül 2022 tarihleri arasında 60 kişi e-posta yoluyla imajlar ve metinler gönderdi. Gönderiler kartpostal haline getirildi ve katılımcılara rastgele postalandı."

All participants received three postcards: one from a stranger, one copy of their own,

and one from myself.

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Postcards to strangers /
Yabancılara kartpostallar

(2022)

148 x 105 mm

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How many is too many 
or

Home journey stills


(2021)

3135 x 209 mm
or
209x209 mm

click here to see inside

How many is too many?

What is the limit

 

The limit does not exist 

until 

you decide to define

(and one must remember that you can always un-define)

 

What we seem to take for granted is 

that time flows in one direction

however, in the statement

which shamelessly appears 

as a fact to many

we forget that time is in-dependent

and also co-dependent

simultaneously

 

as

 

it will flow forever

even if you do not wish

and even if

you are dead

if everyone is dead

and there is no one

time will still flow

for no one 

which is thus

inadvertently 

everyone

still

 

but,

 

also,

 

time will flow just for you

as long as 

you are alive

and breathing

time is yours 

and you

are time

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Berlin to Aachen

(2021)

2 min 43 sec

“ appearances are produced from all objects, not according to the nature of the objects themselves, but according to the condition of mind or body of those to whom these appearances come ”

Aulus Gellius, the pyrrhonist view on phantasiai

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The singularity of a 
moment, it's full
comprehension, and 
the pinhole


(2020)

click here to see inside

Edition of 10, printed in Paris, May 2022 - available at Librarie Sans Titre

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One interpretation of the full comprehension of a moment could manifest itself in an unfolding of its space to flatten in the second dimension. The conceptual transformation of the photography and its loss remains, however the spatial arrangement of the six images assign them a new role. The perception of the viewer is shifted to think spatially rather than viewing the image as a window. 

 

When the same six images of the moment are 

re-ordered to be adjacent to one-another they no longer read as a space, but rather as six adjacent windows opening up into six adjacent moments. 

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Un coup de dés
jamais n'abolira
le hasard


(2019)


 

The poem Un coup de dés jamais n'abolira le hasard (A throw of the dice with never abolish chance) 

by Stéphane Mallarmé spans over twenty pages, and is written in eight typefaces. It is one of the earliest free-verse poems, using the full space of the double spread, describing multiple simultaneous realities of a shipwreck. However, the events taking place within the poem become irrelevant, as the poem acts as a metaphor exploring the notion of simultaneity in space and time,

allowing for multiple interpretations.

 

The site of the double spread and my room are submerged in this installation recreating the shipwreck through three paralleled realities: the 'real', the digital (rendered), and the manufactured (scale model). 

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1:20 model of room, 280 x 195 x 500 mm, plaster, steel, PLA, perspex, and plastic

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