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Body Sculpture/AR



Our world is invaded not by aliens or Martians but by heretics, monks, sages, writers, poets, painters, revolutionaries, experiences, customs, and traditions from other centuries or eras.

"What about you?

Do you live in a time where you belong, or are you a ghost of other times?"



I have been asking myself one question for a long time. This is a straightforward question: "What is the origin of form?" "Where and how was the first form invented?" "What kind of story does it unfold?"

Images, like anocratic stories, evolve over time and become a common language. For millions of years(-Myr), culture has been inspired by nature and vice versa, nature-inspired by culture.

Feelings, thoughts, and images wander like Alfred Wagner's floating rocks in a mental Pangea on Earth. Every image is a little nomadic, and there are no boundaries for images, ideas, and stories. The temporal loops of images unveil different layers. We trace images in those layers according to the principles of resemblance and dissemblance.

The "Surviving Image" of how survival is shaped by ancient nodes, anachronisms, and the present and the future trends of a period despite the difficulty of surviving.
Just like a dynamo, images have vitality and energy. They open a world in which their self is to be seen. Stories and words have etymologies, just like images have lines and layers. Behind every image and word is wealth.

Like stories and ideas, images are immigrants and nomads who know no boundaries.

One of the most striking formulations of Warburg's death in 1929 is that he described the type of images he followed as ghost stories for grown-ups. However, whose ghosts are those? And when and where do they come from? All the fascinating texts on the portrait of archaeological sensitivity and melancholic empathy suggest that those ghosts are a matter of survival after death. Today we can read the traces of ghosts on Earth by using the definition of a biomorphic evolution model.




The new generation-Memory Theater deals with a journey into the past considered a work of architecture that constantly return in memory, making divines' insight possible. However, it is thought that when the level of nothingness is reached, everything can be remembered and known.

My artworks are designed as an interactive art of play; just like in childhood, we invite our imaginary friends to our play to understand and make sense of life by portraying different identities and personalities.

My art is developed through dialogues and performances by coming together imaginatively with many artists, thinkers, writers, and characters who existed in different periods of time.

I trace my earliest childhood memories back to the Roman Zile Castle; there was a school in the castle where my father worked as a principal. Behind the Byzantine castle, there was a massive Amphy theater. Inside the theater, I imagined the old owners of the place, and I was inviting the ghosts to my imaginary world. Ideas kept flowing; imaginations kept forming. 


Inside it, a stone column inscribed with the famous phrase "Veni, Vidi, Vici" (meaning "I came, I saw, I conquered") written by Roman Emperor Julius Caesar. As I played around in that historic place as a small child with the other neighborhood kids, stumbling across the simplest and oldest words engraved on a stone right by my side, I realized that the Earth was a text meant to be read and written.

A man from two thousand years ago had left the shortest and most effective letter(Veni, Vidi, Vici) to us. As a small child, I decided to be an art historian that day to see secret messages and ghost images scattered around the Earth. Earth is an open text for me, and we need to make a radical effort to understand this text.

That day I also decided to be an artist to find a way to communicate with a child who will live thousands of Myr(million years) after me.

Time goes back as one remembers and blends images, sounds, and forms with memories and rewrites them. The more memories, the stronger they are. As the doors of the closed rooms are opened, more of the things we throw into the cellar becomes visible.

Wherever we go, our past follows us like a sky.

Technology has enabled us to see this transformation and wander within time. Using alternative art technologies with today's advanced techniques, we can heterotopically transform people who have existed since the magical ages and revive the dead.

And when sense and justice have lost their meaning, people become alienated from this world. Can we find it back if we put all the quotes together and ask questions as one?

The human brain never remembers things as they are. Remembering is an opportunity for conversion and compensation—artifacts rewriting the memories through the imagination.

I assumed that whatever we have in terms of our consciousness over time would take place in my works. Rumi once said, "Anything you lose comes around in another form."




My works consist of playing with an imaginary meeting in alternative times and spaces, with the powerful historical characters, ghosts, body sculptures, and installations I made with robots and 3D printers and advanced technologies used in art production such as videos, hololence, augmented reality, and virtual reality and projectors.

The New ghost stories" are no longer about imagining "seeing something when in fact there is nothing" but rather about perceiving the survival of images as a perceptive conscience, in a sense.

The Surviving Image of how survival is shaped by ancient nodes, anachronisms, and present and future trends of a period despite the difficulty of surviving.

I was inspired by her extensive research and traveled within the Middle East, North Africa, and East India, where she tracked down locations that birthed civilization. There, I intend to collect timeless ghost (or survival) images and symbols.

Also, my place, Turkey, is a bridge between the East and the West, which has fueled my desire to communicate between realms, namely material and spiritual, and also between cultures.

The origin of forms and symbols invoke what they symbolize, but they are not—this phantom limb's mechanism for coping with a loss in Memory.

I can't describe myself in a chemical reaction tube. We are creating the artwork, but I don’t want to take all credits for myself. I believe with lots of chemical mixes, and whith all integrations of others, ghosts are among us.



Frida De Myr