I made these small sculptures at the the residency programme I participated in Trelex. The view of a large number of fireflies surrounding the shed, which I encountered in the garden while making a tour on the first day of my arrival, formed the basis of my work. I started to think about the relationship of these insects with the space and the environment. I worked on a site-specific work in which I made many small sculptures consisting of ghostly or shell-like structures and I placed them around the shed. I think of the space as a living organism. It attracted my attention that they were so many that they covered the shed on a sunny day and almost completely disappeared on a cloudy day. Thinking about these relationships and approaching them as if they were artifacts from an archaeological site, I started making my own insects out of clay. The concrete, fragile structure of clay combined with my urge to capture temporary and variable elements in a physical form.
This installation, comprising video and photographic prints, takes as its point of focus to the water pumps I frequently encountered in the villages of Zeytinkoy, Izmir during KONSERVE Inter-City Residency Program. It reflects on the region's relationship with water and examines the historical and material infrastructures that have mediated its circulation from the aqueducts of Ephesus to the contemporary water pumps still in use today. The area's touristic identity, and the circulation of souvenirs and visual representations associated with it, have informed the postcard-like aesthetic of the photographs that have taken part of the installation. This visual strategy situates the everyday presence of the pumps within a broader cultural and historical narrative of place, image, and resource. In this context, the installation investigates the entanglements between historical and contemporary systems of water distribution, considering their spatial and temporal relations to people, cities, and infrastructures.
2024, A Brief Neighbourship, Nazim Hikmet Cultural Center
Templates installation, which addresses issues of originality, copying, and reproduction, includes monotype prints made from combinations of various packaging materials. Thus, the artist merges two opposing modes of production: the template-based mass production that is the source of packaging materials and the monotype printing that does not allow for the exact reproduction of the image. The color palette of the work, which attempts to establish a connection between industrial production and artistic production, evokes outputs taken from a photocopy machine, consisting of blacks, whites, and grays. Moreover, the prints are presented in a sequential order, just like on a production line.
Mamut Art Project-12, 2025, Yapi Kredi Bomontiada
In the installation work titled Sandbox, includes the photographs I took of the gathered industrial forms that I encountered during my walks in the city. Instead of using a frame I combined the photographs by using a styrofoam, I tried to catch a closeness with the other building and industrial materials in the photographs. Installing the work on the floor causes the viewer to make physical movements such as bending and standing up. The work, which took place in the Museum Gazhane, also establishes a relationship with the recently restored and transformed building structure of the Gazhane space.
2022, Young Artists, Museum Gazhane
Spirals, an installation made with found marble fragments and iron filings, reconstructs two distinct forms of waste; industrial and artistic, within an eclectic sculptural language. Expanding and adapting to each space, the work engages with the aesthetics of urban decay and the notion of verticality, often associated with phallic and architectural forms, through an organic approach. The iron shavings produced by CNC and lathe machines are by-products of industrial processes, yet they resemble unintentional sculptures formed without intervention. Similarly, the residues removed during traditional sculpture-making carry comparable material and conceptual qualities. By bringing these two waste types into dialogue, Spirals searches for new formal and conceptual relationships between sculpture, architecture, and the city.
Alienating World, 2022, Galeri Bu
Alienating World, 2022, Galeri Bu