Natural makeup, Photography, fine art paper | Fine art kağıdı 70 x 140 cm, REM Art Space, Çukurcuma, İstanbul, 2019.

Combining the aesthetics of disaster and Hegel’s aesthetics of beauty, I attempt to destruct images of natural beauty using scanography method of photography to create abstract and fragmented images that address the consumption through the contemporary makeup industry. Scanography enables the image, destruction, and fragmentation to co-exist together in one photograph due to technical abilities. Therefore, it is research for visual reconciliation between the ideal beauty and aesthetics of disaster.

Beautification, Photography on fine art paper | 50 x 70 cm, REM Art Space, Çukurcuma, İstanbul, 2019.

Combining the aesthetics of disaster and Hegel’s aesthetics of beauty, I attempt to destruct images of natural beauty using scanography method of photography to create abstract and fragmented images that address the consumption through the contemporary makeup industry. Scanography enables the image, destruction, and fragmentation to co-exist together in one photograph due to technical abilities. Therefore, it is research for visual reconciliation between the ideal beauty and aesthetics of disaster.

Praxis, Google Image and found image, Photo-collage and manual image processing, April 2018, Red Bull Art Around Arnavutköy, Istanbul.


Praxis, Google Image and found image, Photo-collage and manual image processing,
April 2018, Red Bull Art Around Arnavutköy, Istanbul.
Exhibition view
Exhibition view

It is quite chaotic to look past within today’s perception. Through this image, I am opening a window to move back and forth between the time, history of a space and representation of it. At this point, trying to remember the past is reproducing the truth.

Geçmişe bugünün penceresinden bakmanın, kendine has bir kaotikliği olduğunu düşünüyorum: Google Earth imgeleriyle yeniden oluşturduğum bu fotoğraf, geçmişiyle el ele olan bir mekan, mekanın sanal gerçekliği ve gündelik deneyimi arasında gidip gelmemize yardımcı olacak akışkan bir pencere açmama yardımcı oluyor.

Tam bu noktada, geçmişi hatırlamaya çalışmak, gerçeği yeniden üretmeye benziyor.

Amorfi Kolumbos

Amorfi Kolumbos, 150 x 72 cm, Drawing and Collage, 2017

from Kolumbao, Kolumbos (a diver) by definition from Greek

exhibition view, Ebb and Flow, 2018

On press:

https://gazetesu.sabanciuniv.edu/tr/2018-07/mezunumuz-akbank-36-gunumuz-sanatcilari-odulu-sergiside

Altuğ, Evrim. “36 yaşındaki ‘Günümüz Sanatçıları’”. Gazete Duvar. July 11, 2018 https://www.gazeteduvar.com.tr/yazarlar/2018/07/01/36-yasindakigunumuz-sanatcilari/

On ARTtv:

Ebb and Flow

Ebb and Flow, photo-collage using Google Earth Images, 160x50cm, digital print on photo-block, 2017

The title piece for the graduation exhibition.Ebb and flow, by definition means: A recurrent pattern of coming and going or decline and regrowth.

Exhibition Poster, 2018

Exhibition view

“I am part of the sea, and the sea is part of me when I am on it (…)(…) But above the level of everyday experience, the sea is out pathway to each other, and everyone else (…)(…)Afterall,as a matter of hydrological fact all the seas of the world run into each other, at least all those composed of salt water (…)”

Mack, J. (2011). The Sea: A Cultural History (Illustrated ed.). Reaktion Books. doi:1861898096, 9781861898098

Center will not hold II, 154x 171 cm, photographic installation with plexiglass layers, 2018




Center will not hold, 154x 171 cm, photographic installation with plexiglass layers, 2018






Meeting two different land piece through the horizon, I seek to point out
the common fate of two different open sea-fronts within their historical representation, using found Google Images. Through this image, I am re-creating the memory of these seafronts and the land, which is completely re-transformed into the private architectural realm today.

Center will not hold I, 154x 171 cm, photographic installation with plexiglass layers, 2018

Untitled Installation Piece, 104x71cm, photo- collage using Google Earth Images, digital print on photo-block, 2018

 

 



Center will not hold, 154x 171 cm, photographic installation with plexiglass layers, 2018

Meeting two different land piece through the horizon, I seek to point out
the common fate of two different open sea-fronts within their historical representation, using found Google Images. Through this image, I am re-creating the memory of these seafronts and the land, which is completely re-transformed into the private architectural realm today.

UI a.k.a Unexpected Interfaces

Exhibition pieces @ “Ebb and Flow”  –

No 4: I am in the sea and the sea is in me when I am on it, Found Image Serie on Google Earth,various sizes, C-Print, 2017

No 5: Lose yourself, Found Image Serie on Google Earth, various sizes, C-Print, 2017

No 6: Home is where the sea is, Found Image Serie on Google Earth, various sizes, C-Print, 2017

 

Untitled (Stability Research) WIP

Untitled (Stability Research), polaroid photographs, various size, 2017

Stability Research is the pursuit for creating visually balanced compositions using polaroid photographs. This is one of the finalized product for daily photographic practice using polaroid machine since 2015. It is an attempt for change in perception through photographing light in different times of day in order to create an image with sense of depth and make a play around perception of sense of depth.

In a way, i make this work correlated with the sculpture Emily Prime within the same aim which I play around the idea of perception for objects, dimensions and surfaces.

 

Untitled I, 50x50cm, 2017

 

Emily Prime

Emily Prime, metal and plexiglass, 40x20x10cm, 2015, Istanbul.

Emily Prime is a fictional character in the short movie World of Tomorrow by Don Hertzfeldt. Don Hertzfeldt’s visual language was the inspiration for the sculpture.

It was created considering the movements of sunlight: The shadow will be shifting in form through the day. By the nature of thin metal profile, we tend to perceive the shadow along with the object, as if they were one image. Again on this work, I aimed to play with the perception, shifting in 2D surface and 3D space.

 

Toss ( I don’t like people telling me what not to do)

Toss, acrylic on canvas and wire structure, various size, 2015

My statement of purpose for the typography project is handwritten on 10 meters long canvas, repeatedly. It is about the obsession for statements.

In the second phase of this work, I decided to alter this work into an object in 3D space, rather than a statement written on the 2D surface. I created the familiar image of a draft paper thrown to the trash, using wire structure and the folds on the object.

 

IMG_1516 IMG_1539

Cartooning, Fine Arts, Illustration

The Ticket

The Ticket, stamp on a handmade book, 27×21 cm, 2015

The Ticket is an experiment for creating an audience which may interrupt the work, tear it and take it with them. For this purpose, 100 pg. of 2 notebooks have been produced using the handmade stamp. As a result, 2 copies of the notebook with 100 pg of assigned serial numbers and signatures behind, has been taken by the audience. Besides 200 spectators, no one had managed to see an original copy of the work but the pieces that left after it has been torn apart.

On the other hand, it was produced to be “a ticket” for dreamers to be taken far far away when they need to take a deep breath away from urban life. It could also be approached as a tool for the audience to create their own stories with this ticket.

Torn pieces of The Book

 photographs sent by the visitors/ people who collected the ticket:

https://www.instagram.com/p/BC0SsoxphKz/?taken-by=dlorie

https://www.instagram.com/p/BVqx6sOApbO/?taken-by=dlorie

https://www.instagram.com/p/BMhTA_8hkM6/?taken-by=dlorie

Collage Poetry on Canvas

Collage Poetry, Acrylic and Ink on Canvas, various size installation, 2014

This work has been created for exploring visual weight of letters in the Latin Alphabet.

I consider typographic elements as if they were individual objects: As you write a sentence or word, it’s visual quality changes. Therefore I wanted to practice on this approach using collage poetry from various poems of Çağrı Çığ Sığırcı. Even though, it is not written to be read, visitors have attempted to read just because the reason that the eye is familiar letter forms as an image. Furthermore, I used notebook pattern in order to create a suitable space for eyes to make attempt for reading. This attitude also created a contrasting visual approach for the visitor on how to capture reading habits of human eye with something which is hard to read.

I chose my handwriting as a personal typeface, rather than applying another specimen which makes this work unique in the application of the writing.

I wanted to challenge the viewer to spend more than 8 seconds, as it is stated according to the recent researches made in Louvre, Paris on modern paintings.