postcards to strangers
yabancılara kartpostallar
(2022)
148 x 105 mm,
ink-jet print
"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 (see below.)
Postcard that was sent to all participants
How many is too many
or
Home journey stills
(2021)
3135 x 209 mm
or
209x209 mm,
ink-jet and c-type print
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
How many is too many or Home journey stills is a diptych in form of an accordion book consisting of a poem and a series of twenty-four stills, captured over two cab journeys, using the maximum zoom on an iPhone. Although, for some, the knowledge of the object captured, or the method, may deduct from the so-called beauty of art or abstraction, Home journey stills in-itself emerged from an attempt to reveal the casual abundance of beauty and the poetics of the quotidian. The book title combines the two pieces using 'or' rather than 'and' inviting its audience to consider both works in light of the other.
The first edition was made as a copy of one and will be available for viewing in the Special Collections of Weston Library, University of Oxford from March 2023 onwards.
Les Fleurs,
Mes Fleurs
(2022)
Edition of 10
180 x 260 mm
inkjet print,
bound using a sewing
machine
click here to see inside
Edition of 10, printed in Paris, June 2022 - available at Librarie Sans Titre
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
Imprecise precision
drawings
(2019-ongoing)
210 x 297 mm,
pencil and/or sewing
machine on paper
4-5 A.M.15.05.2022 (2022)
Counting anguish (2021)
Edition of 10, printed in Paris, May 2022 - available at Librarie Sans Titre
The singularity of a
moment, it's full
comprehension, and
the pinhole
(2020)
click here to see inside
120 Photographs of a blank wall, 594 x 841 mm, silver gelatine print
THE SINGULARITY OF A MOMENT
120 Photographs of a blank wall is the documentation of the north wall of my bedroom every thirty seconds on 9th of October 2019, between 09.32 and 10.32. The simple repeated act reveals the improvised choreography of light, broken by the window, melting on the wall. The instantaneous change depicted by the radical difference between neighbouring images reveals the singularity of each moment, caused by the numerous factors that come together to create it.
Each moment is experienced in exclusive conditions, hence never repeated. Factors from light, sound, humidity, and the emotional and mental space of the subject affect its construction and experience.
Untitled, Polaroid Spectra
The full comprehension of a moment, 420 x 297 mm, inkjet print
THE FULL COMPREHENSION OF A MOMENT
"Full comprehension of an object requires the physical movement of the observer. Fixed observer looking at a single still photograph only attains reduced confrontation."
John Hejduk
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.
Pinhole cameras and constellation apparatus,
1000 x 1000 x 600 mm, steel, plywood, acrylic, and cardboard
THE PINHOLE
The product of the pinhole beholds an exclusivity to the moment.
It is an original:
un-repeated,
un-altered.
The multiple pinhole cameras arranged on the constellation apparatus begin
to question the credibility of a single image in capturing the moment.
We maintain a temporal existence in a bodily world and the pinhole becomes a vice
to experience time in compression.
Plan drawing of pinhole cameras and constellation apparatus,
1188 x 841 mm, inkjet print
(captured using the pinhole cameras and constellation apparatus in London Fields)
175 x 130 mm, digital-scan, self-developed pinhole photograph and giclee print
Manual transcripts of
Tuonelan Joutsen
(2019)
594 x 420 mm, ink-jet and pencil on paper
1189 x 841 mm, ink-jet and pencil on paper
Un coup de dés
jamais n'abolira
le hasard
(2019)
2x3=6, film stills
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).
1:20 model of room, 280 x 195 x 500 mm, plaster, steel, PLA, perspex, and plastic
render of room projected within room, 300 x 200 mm, c-type print
model of room (sinking), 300 x 200 mm, c-type print
