The first time I saw the burnt landscape was from the sea. She looked exhausted and perhaps defeated but the wind brushing through her hair brought gentle life. I knew immediately I wanted to be inside her.
Double Glazed and I couldn’t keep you as a whole so I chipped off pieces to stitch back together are part of a body of work in progress since August 2024, following several visits to the landscape that had burned on 17th of July 2024.
I couldn’t keep you as a whole so I chipped off pieces to stitch back together
(2024)
site-specific installation (placement) with dimensions variable, chipped tree branches and cones from Alaçatı [burnt during fire on 17th of July 2024, collected August 2024], black sewing thread
Double Glazed
(2024)
325x263x67mm
double-frame made from cherry with walnut splines, museum glass, two fine art prints on rag 80x141mm, chipped tree branch and cones from Alaçatı [burnt during fire on 17th of July 2024, collected August 2024], Stack (draft) [2024, eight inkjet prints on glossy paper 24x42mm mounted on board with acid-free double sided tape]
Images from Lattice Structure of Space-Time exhibited at Indigo+Madder, London, 22 November 2024 - 11 January 2025
Diye Duyduk / So We Heard
(2025)
Performed with Zeynep Yılmaz on 28.02.2025 as part of The Echo Chamber at Deptford Town Hall, London
İstanbul ve Londra arası telefon üzerinden 15 dakikalık canlı performans / 15-minute live performance through the phone, between London and İstanbul
Labyrinth of Memories, Dispersed
(2024)
400x1600x50mm, walnut, MDF, waxed thread, hinges, 30x50mm barcode stickers
(each sticker is an edition of 2+1AP)
Images from Caressed and Polished and Drained and Washed' exhibited at FILET, London, 18-26 May 2024. Exhibition preview available on request.
Exhibition publication available here.
Labyrinth of Memories, Dispersed: Archive of Thermal Impressions
(2023-present)
330x287x 60mm, archival ring binder, double sided stock sheets, divider pages, approx. 1,000 30x50mm barcode stickers
(each sticker is an edition of 2+1AP)
Images from Caressed and Polished and Drained and Washed' exhibited at FILET, London, 18-26 May 2024. Exhibition preview available on request.
Exhibition publication available here.
Most Days are Cloudy
(2022-2023)
click to view thesis to accompany
Most Days are Cloudy is a research into what Port Meadow is. Referencing the correspondences of John Berger and John Christie, the project explores the relationship between place, colour and mood.
The installation is a meditation on the silver-ness of the meadow. The six-meter long, offset wall creates a corridor within the exhibition space. The silver painted front is animated with the light that changes throughout the day, reciprocating the way colours change in the meadow with time and weather. Behind the long strip and three square openings on the wall, photographs documenting the meadow over the course of a year are displayed, back-lit by the contrast in light between the exhibition space and the corridor.
Special thanks to Harry, Matty, Simon, Chris, Eve, Rachel and Spike for patiently helping.
Certain Dreams
(2025)
49 x 117 x 16 cm
Site-specific installation contained within jewellery display of shop. Objects and items found, made, collected, received
Exhibited at The Luster, Vitruta, London, UK
Curated by Display Fever
8-15 May 2025
Photo Credit: Ksenia Burnasheva
Candle holder, brass, it would shine if it were polished; childhood dream dinner party; contents of Remembrance, spilled (three screws, source forgotten; twenty-nine safety pins, found or collected; two buttons, found; two hook-screws, source forgotten); Exceeding Great and Precious Promises; five out of six of Vintage Set of 6 Intriguing Small Aluminium Frames Photo Holders Stands, containing a chandelier, a hotel-room window, a night-road, canal-water and the sun; flower pin; flowers taken discretely from a shop to make-up for a drunken regret; furnitures of my old room modelled and 3d printed; get-well-soon hydrangea petals; grid and holes, game board; list of boxes declared for customs; MOON, information; polaroid experiment framed in leftover acrylic; rectangle of lace; single cloth flower from a strip flower crown ribbon; single dried flower, source forgotten; single-ear hook-ring from Nonna; the back-side of a polaroid experiment from 2024; thin ribbon from a box of chocolates; two types of dried flowers of forgotten origin; fork and knife from car-boot sale; old grape glass with green stem; wallpaper coaster from 2025: There is no chair in this room, / and I want to be alone, / so I’m kneeling on the rung / and using a chest of drawers / The air conditioning / making a calming sound; wooden Remembrance box: If every rose with gold were tied, / Did gems for dewdrops fall, / One faded leaf where love had sighed, / Is sweetly worth them all.
Second Seat
(2025)
Designed together with Tamir Aharoni for Missing Objects.
Exhibited at Missing Objects: First Edition, Milan, Italy
7-13 April 2025
Wishful Thinking
(2024)
Cut-Out Coupons (for the game that is life), Published on The Toe Tag, October 2024
Spill
(2025)
On display at SEESAW Space, Manchester
PV: 28 March 6-8 PM
29 March - 23 April 2025
Spill is a cafe intervention comprising set-of-nine recycled paper coasters and fifteen instructional letters.
Within the last month, fifteen people received an instructional letter from Dilara, inviting them for a coffee. Recipients were asked to open the folded letter before noon, when they have an hour to spare, without further explanation.
The response to the letters are contained within the coasters.
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.
Postcards to strangers /
Yabancılara kartpostallar
(2022)
148 x 105 mm
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
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
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.
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).
1:20 model of room, 280 x 195 x 500 mm, plaster, steel, PLA, perspex, and plastic
