Here, There, Over There (2025)
UV print on 3mm transparent plexiglass, hand-shaped using heat and iron marble
2. Photography Installation
66 archival pigment prints on fine art paper, mounted on 33 MDFs within a wooden panel
3. Photographs
Archival pigment prints in varying sizes.
4. Video and Sound Installation
Three-channel color video and three-channel sound installation.
5. Photographic Installation (2 Pieces)
Archival pigment prints on fine art paper, framed
6. Photographic Installation
Pigment print on silk, two pieces
7. Video
Single-channel color video film.
The project moves migration beyond geographical relocation, focusing on the state of "otherness" that an individual can feel within themselves, even without crossing physical borders. Every movement—from a small town in Anatolia to Istanbul, from Morocco to Corsica, or from the margins of society to the center—converges in this shared sense of estrangement. In this context, belonging is not a physical coordinate but a fluid experience shaped through the network of relationships one forms—or fails to form.
The metaphor of the “stone in the river,” depicting this process of individualization, forms the theoretical backbone of the project. Those who set foot on an island or in a new space as part of a collective mass evolve into solitary journeys immediately upon arrival. Like a stone that breaks away from its source and journeys toward the sea, the individual thins, erodes, and changes form within this flow. This journey is not a passive drifting in harmony with the current; it is an aesthetics of erosion that—at times against the current, at others through chance—always detaches the individual from the “whole” and brings them to their own unique subjectivity.
This narrative is embodied through the visual and material contrasts within the works. While the clear sky above figures sharing typological similarities heralds a common human roof and boundless hope, the systematic, grid-like arrangement of the photographs reduces the individual to an anonymized “archival record” or identity files in a government office. The gaps intentionally placed between the images open up space for untold stories and "missing" bodies to be completed by the viewer’s gaze.
The sea is both an end and a beginning in this journey; a landscape with clear boundaries for the local inhabitants, and a gateway of boundless hope constructed in the mind of the newcomer. While encounters established through shared labor, such as the mandarin harvest, and the image of the tree soften these dualities, a world where the real and the imagined, the desired and the existing intersect is constructed through photography, video, sound, and installation. The viewer is invited not to look from a fixed point, but to move, to share the gaze, and to re-examine their own thresholds of belonging within this asymmetric witnessing.
Exhibiton #1 / Ka Space for Visual Culture and Thining, Ankara, TR
Exhibiton #2 / A Cisterna, Museum of Corsica, Corte, FR
Exhibiton #3 / Bayetav Sanat, İzmir, TR
Exhibiton #4 / Yüzonbir, İstanbul, TR