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The "Memory Theater" is an immersive art installation inviting participants to reflect on the complexities of human existence through interactive play. Inspired by the tradition of engaging with imaginary companions from diffrent layers of the time, the theater encourages exploration of diverse identities and narratives.
In "Zig Zag Time Traveling" series, I draw inspiration from my own biography.
I was born in Zile, Turkey, where my early childhood was steeped in history. Playing near the ancient "Veni, Vidi, Vici" inscription attributed to Julius Caesar sparked my fascination with the past and its enduring symbols. Growing up in Anatolia a region that bridges East and West and is often described as an open-air museum further deepened my curiosity about cultural narratives and historical artifacts.
My academic journey in art history led me to explore the interplay between fragmented identities, technology, and societal relationships. Influenced by thinkers like David Harvey and Zygmunt Bauman, I delve into themes of postmodernity, globalization, cyberspace, and new media technologies. Through this lens, I examine the overlaps of place, time, and identity, crafting pieces that resonate with contemporary cultural dynamics.
Embracing an interdisciplinary approach, I integrate various mediums—including sculpture, painting, video, and digital technologies—to create works that are both conceptually rich and technically innovative. My methodology emphasizes symbolization, association with the other, transformative creation, and experimental application, allowing me to weave personal narratives with broader social commentaries.
In my "Zig Zag Time Traveling" series, I combine travel notes and research to visualize stories rooted in personal experience, reflecting on the continuous journey of self-discovery and cultural exploration. Drawing inspiration from literary and philosophical sources, such as György Lukács's "Soul and Form," my work seeks to engage with the complexities of the human condition, inviting viewers to contemplate the interconnectedness of art, history, and society.
It is through dialogues and performances that we develop by coming together imaginatively with many artists, thinkers, writers and characters who existed in different periods of time.
Each of the seven columns representing the Prophet Solomon’s seven commandments symbolizes a different character. On the right and left of the columns are the gods of wisdom and justice. The goddess of justice blindfolde represents impartiality and objectivities. The goddess of wisdom, Athena, is the goddess of intelligence, art, strategy, inspiration and peace. Her dazzling beauty blinds those who look at her.
At the entrance of the hall of the “Memory Theater” is Hera, the goddess of women and family, and at the exit is Anubis, the god of the dead. In the play, they symbolize dramatic contrasts in life. William Shakespeare stated that if a play ends with a wedding, it's a comedy, and if it ends with a funeral, it's a tragedy. Contrasts allow us to better understand the intertwined contradiction in the theater on earth. According to Schopenhauer, one’s knowing that one is going to die is a tragedy, but the real tragedy is that one forgets about death until the last scene. In fiction, tragedy is made beautiful through art, and the human soul is freed from passions.
This play puts love, curiosity and quest in the center of real life and transforms by striving to understand, hear and design life. These personal and social symbols and narratives are about the construction of art.
GHOST IMAGO
Metal welding, Augmented Reality, Installation
New York, United State
”Ghost Images” like anocratic stories, evolve over time and become a common language. Every image is a little nomadic, and feelings, ideas and stories know no boundaries. The temporal loops of images unveil different layers. We trace images in those layers according to the principles of resemblance and dissemblance.
Even though the images in the portraits of the first and fourth centuries BC were drawn in different parts of the world, they trace resemblance. Because of its anthropological character, the image comes from the tradition of trail-tracking and discusses resemblance.
In her book titled “The Surviving Image,” Aby Walburg focuses on the survival features of images.
This notion of survival paves the way for which art history became a humanistic discipline. The Surviving Image takes Warburg as its main subject but also addresses broader questions regarding art historians’ conceptions of time, memory, and symbols and the relationship between art and the rational and irrational migrations of art and soul.
Art history that addresses anthropology, psychoanalysis and philosophy to understand the “life” of images. In his work, he points out how survival is shaped by ancient nodes, anachronisms, present and future trends of a period despite the difficulty of surviving. An image shaped by the principle of resemblance saves itself from “before” by surviving “before the before,” just like a theory of evolution in itself.
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? Warburg's fascinating texts on the portrait of archaeological sensitivity and melancholic empathy suggest, first of all, that those ghosts are a matter of survival after death.
Sculpture, Installation
Metal welding, Wood Working Augmented Reality,
New York, United State
I remember! I, myself, alone, have more memories than all mankind since the world began,’ he said Funes. (1942)
Memory has a tendency to reload the regulations that consist of individual probabilities, complex vectorial forms of the earth, urban or city fragments, interwoven experiences, zig- zag time travels, multiple, heterogeneous and conflicting scenarios extending from nature to culture, even morphological typologies and future estimations as stimulus.
Memory also reshapes all our perceptions in the foresight of experiences and imagination with the desire of making tomorrow possible and reexisting every new day just like the sheltering stimulation of the Otzi proto-human.
Memory transforms just like the immigration of spirits (metamorphosis), dead or alive ghosts, mythological creatures, icons, cues, holy body parts, tragedies, life-dead spiral of Eros and Thanatos, painful and worrying disturbance of established civilizations and is burned just like books with the government’s act of making people forget while exchanging the universe of perfect ideas with other spaces.
Memory decelerates with a cognitive vescular alteration or a social moya-moya just like an artificial neurocognitive pattern by getting clotted just like organisms vibrated by assumptions.
Memory transforms us into both witnesses and victims of predictable inventions with a digital captivity like panopticon as it evolves via digital memory.
As a memory trigger getting into the circulation of social events; memory enables us to solve, recode, represent and expose the ‘political art’, dominant codes and myths toward an augmented reality that could be completed by the real world with digital data.
HUMPBACK
2019, Robot Carved Sculptre, Video
New York, United States
All artist has their own humpbacks.
There are many social problems in the world that are conflicted, the artist takes these problems as his own. With the artists experience and observations of these conflicts, the artist analyses these issues and intertwines and creates a reason. The artist can make one of these artworks with different methods and techniques without making it an ornament social matter.
Humanity has lost the ability to believe in efforts that are greater than them. Due to these realities of the world we live in today, as an artist with all efforts to try to change anything, will fail.- With these infirmities of efforts it becomes almost humorous and impossible to achieve. It is evident that an individual will always live with crisis, however, how can art compensate?
It always raises the question of what can be compensated by art as a human being in the crisis. According to Adorno's most talked statements “to write poetry after Auschwitz is barbaric” (Adorno 1983: 34). The South African writer J.M. Coetzee analyzes the question, “Can art be an echo of who lost their voice?” “What does the text save?” (The Story of Orpheus and Eurydice in Coetzee and Rilke)
An artist must accept that he may never be able to compensate the crisis and loss of the world, with this an artists work only becomes a way of recording.
Art makes it possible to see and display opposing voices, mutual conflicts simultaneously by using a wide variety of methods and techniques. When any grievance subject being articulated through a, without the credibility of the wronged, without being converted into a humiliation, without reducing the credibility and the suffering. The suffering experienced can be transferred without minimize or aggrandized the crisis.
This responsibility and efforts are artists humpbacks sometimes.
TARRA NOSTRA
Terra Nostra is a dreamscape, an elaborate allegory, infused with mysticism, symbolism, numerology, theology. There are tales nested within tales, dreams within dreams, a mirror of our world distorted beyond reason, but not recognition. The individual is reduced to archetype, one aspect of a super-organism which devours itself, growing larger only in order to devour itself still more. In its nature can be found the many ironies of existence: In the act of creation one must destroy; in conquest one becomes subjugated; in piety one is most corrupted.
This series explores a fundamental dilemma: How can we exist as a moral species if the nature of life itself requires that for one to rise, many must fall?
Metal welding sculpture, installation.
It always raises the question of what can be compensated by art as a human being in the crisis. According to Adorno's most talked statements “to write poetry after Auschwitz is barbaric” (Adorno 1983: 34). The South African writer J.M. Coetzee analyzes the question, “Can art be an echo of who lost their voice?” “What does the text save?” (The Story of Orpheus and Eurydice in Coetzee and Rilke)
An artist must accept that he may never be able to compensate the crisis and loss of the world, with this an artists work only becomes a way of recording.
Art makes it possible to see and display opposing voices, mutual conflicts simultaneously by using a wide variety of methods and techniques. When any grievance subject being articulated through a, without the credibility of the wronged, without being converted into a humiliation, without reducing the credibility and the suffering. The suffering experienced can be transferred without minimize or aggrandized the crisis.
This responsibility and efforts are artists humpbacks sometimes.