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"PASSING(Shot-gun)", 2008

Digital Animation, Duration; 2' 50'' based loop
Exhibition view from Akbank Art Center
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A part from the animation
Press Release

The works titled “Passing” (chain), “Passing”(shot gun) are reflecting the inner struggle to understand and reconstruct the time slot.

These works are considered as “animated images” for the technics apply both digital animation, video and photographic features. The 4x5” negative employed on the basis of these animated images constitutes the structural frame and form of the serie. The 4x5” frame, which is a picture format, corresponding to the photographic dimension of the work, refers both to the moment of taking the picture and of the dialogue with the audience. The reason for creating an image by duplicating a picture through “mirror” effect is to obtain a new form and process of perception thanks to this construction. As for the animation over the picture, it results from the effort of animating the image in this construction. The video technic assumes a significant role in both combining the actions, and maintaining the transitivity of the elapsed time in our perception process.

The exhibition “In-flux” reflects the internal effort of the (post)modern person to individualize him/herself in accordance with the time and space.

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''Gecis'(zincir), 'Gecis(tabanca) serisi insanin icinde yasadigi zaman dilimini ve ‘an’lari algilamaya yonelik gorsel, duyumsal ve mekansal bir kurgu yaratiyor.

Sergide yer alan ‘Gecis’ baslikli isler dijital canlandirma, fotograf, uc boyutlu(3D)-hareketli grafik ve video teknikleri ile hazilanmis islerden olusan bir seridir. Bu canli gorsellerin tabaninda kullanilmis olan 4x5 fotograf negatifi bu serinin yapisal cercevesini ve formunu olusturur. Bir fotograf formati olan 4x5 cerceve isin fotografik boyutuna gonderme yaparken gerek isin cekildigi an’a gerekse de isin izleyici ile olusabilecek dialogunun an’ina referans verir. Burada negatif pozlandiktan sonra fotografin disinda kalan siyahlik hem bir cerceve olarak kullanilir hem de iki tane ayni fotografin birlesmesini saglar. Cekilmis olan tek bir fotografin ‘ayna’ efektiyle cogaltilarak yan yana kurgulanmasi ile elde edilen gorseli olusturmakdaki amac bu kurgudan ortaya cikabilecek yeni bir algilama bicimi ve sureci uretebilmekdir. Fotografin uzerinden yapilan canlandirma animasyon (animation) ise bu kurgudaki gorseli canlandirma cabasinin bir sonucudur. Kullanilan video teknigi hem islerin butunlesmesinde hem de algi surecimize yonelik gecen zamanin ve zamanlamanin gecisliliginde onemli rol oynar. Fonkiyonunu yitirmis zincirle birlikte hareket eden bir yilan veya yan yana dizilmis tabancalarin degisiminden seyirciyi tek bir an’in tekrardan kurgulanmasina davet eder .

'Ic-sel' sergisi zamani nasil icsellestirdigimizin mekansal bir algilamasi olarak (post) modern insanin kendini zamana ve mekana gore bireysellestirmeye yonelik icsel cabasini yansitir.

DAYLIGHT
COUNTER
UNEXPECTED MOVEMENTS
BLACK SWAN EVENT
ABOVEGROUND
IN-FLUX
PASSING(CHAIN)
PASSING(SHOT-GUN)
FACING THE WALLS
WE ARE VOLUNTEERS
BREADZONE
UNTITLED 1
UNTITLED 2
PASSING
RED JUMP SUIT
IN THE NAME OF BREAD FOR THE SAKE OF LAND
STAIRWAY
THE BREAD DOOR
PASSAGE
DEAD OR ALIVE
UNTITLED
LIVING THE HIVES DOOR OPEN
RENDEZVOUS
IM-MIGRATION