Artistic and Research Statement ENG​

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The roots of my relationship with space, matter, and time trace back to the archaeological layers of Çukurova, where I was born and raised. Today, my artistic practice takes shape within the multi-layered structure of Istanbul, the city at the center of my life. My fundamental motivation is to establish a structural dialogue between the materials of the past and the present, particularly through the use of augmented reality. I interpret the tesserae forming an ancient mosaic and the pixels constructing a digital image as reflections of the same visual language across different eras. I reinterpret traditional surface tooling and engraving practices through the concept of "digital craft," utilizing next-generation technologies.

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My background in interior architecture and stage design forms the foundation of my approach to space. However, the physical limitations of materials and gravity restricted the variable nature and fluidity of the narratives I wished to convey. To overcome this barrier, I transitioned my production into the flexible universe of the digital realm. I do not perceive space as a static construct, but rather as an experiential domain where boundaries dissolve and continuous transformation occurs. Into this fluid universe, I integrate not only the scenes I design but often my "digital twin," created with my own voice and likeness, thereby stretching the physical boundaries of the body, identity, and space. Through this practice, I simultaneously document the artistic potentials of the digital tools I employ.

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The conceptual backbone of my work is what I define as the "Archaeology of the Others." I trace the underrepresented stories that have been left outside of the historical narrative. Through my series Gynaeceum, Hamam, Sauna, and Wet Areas, produced between 2014 and 2019, I sought to make the intersections of architecture, the body, pleasure, and queer memory visible. I meticulously archive the underlying technical processes of the algorithms, 3D tools, and artificial intelligence systems I utilize in my production, because I believe that today’s digital craft and data records will become the archaeological data of the future.

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Since 2020, in the collaborative production language we have established with Hakan Sorar, we focus on the concepts of archaeology, the body, architecture, and surface, constructing interactive artworks that liberate the audience from being passive observers. By utilizing artificial intelligence and augmented reality technologies, we include the viewer into fluid scenes and produce artworks with variable forms. For instance, in the exhibition Rest in Pieces, we traced the annual migration journey of the Domaniç frogs alongside the 5000-year-old votive vessels discovered at Kütahya Seyitömer Höyük, which are believed to have been inspired by this natural phenomenon. In our exhibition Bir Varış Bir Yokuş, we focused on transferring the memory embedded in the surfaces of ram-shaped tombstones onto new surfaces using artificial intelligence tools. We explore the ways in which our thoughts transform into words, and words into images, videos, sound, and 3D models. The tools we use most frequently include Polaroid films, 3D printing materials, game engines, and digital and artificial intelligence visualization tools.

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My ultimate goal is to focus on "the others" by utilizing the communicative language of art, and to construct a dynamic, ever-transforming, and boundary-transcending dialogue among archaeological heritage, architectural memory, and the technologies of the future.