When I was a kid, I usually spent the whole afternoon looking outside the window waiting for sunset. Dim winter light usually showed little changes till the last moment when it burst into bright orange color, falling off the horizon line. When the clock struck four, it was the time for dinner. The hour grandma woke up from a long nap. The ﬁrst impression that memories had left on me, felt like little pebbles scatter
around in the extension of silence.
One day in my teenager life, I stayed up late to study for exams. Around the midnight
I went out to get refreshed. Our balcony was like the outside. Because of the temperature gap, thick pieces of ice grew inside the glass windows. I remember opening the window with an effort, the streetlight reﬂected by the road was so dry. Without any emotion, it appealed to me that they demand no attention at all.
Then I grew up in a world that is designed and constructed for the eyes. Gaze to observe, gaze of surveillance, gaze to give orders, gaze to cut through bodies, gaze to seduce - we grew up witnessing the power play of gaze. Countless ﬂights, enormous quantity of information, reﬂections stopped at the surface without any representations. The habit of looking without seeing gradually became the structure of the heart. That is where the freedom of the contemporary roots in.
Consciousness ﬂies with light; through various dimensions, through endless bounces and reﬂections, being stopped and stretched; seek for power, consume it and trade with information; produce images, blow them up and leave to be forgotten.
Connections to the actual existences are being lost, in an increasing speed, like a missing link, in a ﬂoating, swinging space. In my creation, I tend to explore where the intersections of nature and elements of contemporary societies reside. That are pressed into the ordinary scenes, over the borders of different cultures, the borders of human beings and things.
There is no universal point of view for empathy in my photography. Respiration of the
absent is meant to be delivered to the audience through the layers of light, composition, colors and forms. The visible elements are both true and ﬁctional, alluding to something outside the frame.
The sun, the ice and the sand have always been there.
We remained bustling and quiet.
July, 2019, For Dyed my Hair Blond, Burnt Dark at sea @ Emon Photo Gallery