Memories are made of these, 2022
This typographic animation loops was created in an age surrounded by consumerism and
spectacle hysteria, aiming to make objects visible without directly displaying them. Rather than using straightforward visual narratives, I sought to document my personal memories
through a shared language, rendering them anonymous. Although these records carry
traces of my personal history, they remain inherently connected to collective memory. One of the project’s core motivations is to move away from classical visual aesthetics and create spaces where viewers are invited to imagine freely.
Dès Vu, 2025
Dés Vu explores the disappearing nature of the past, of memories and of time, which can be recalled at any moment. In this sense, the idea that everything will eventually become a memory and that every moment will become an experience that was once lived but now exists only in memory is conveyed to the viewer through the visual and audio elements used in the project. This is an inquiry into how both individual and collective memories are shaped and transformed over time.
This project was created using the TouchDesigner program. TouchDesigner is a software that allows to dynamically combine visual and auditory elements and was used in this work to create visuals in an interactive way with sound. In the project, each note on the MIDI keyboard is assigned as a video or photo trigger. In this way, each new note pressed creates a visual change and this change creates a new story or atmosphere in harmony with the music.
Each note becomes an element that triggers a memory, an image or a history. Musical progression allows the visual material to evolve harmoniously over time, and each new piece of music creates its own unique narrative. Through this interactive system, each melody or chord played allows music and visuals to merge, producing a unique story and memory in each song.
This work is an experimental video work in which I question the functionality of time, memory and history based on my personal memories. Based on an idea that came to me while going through family photo albums, this project explores the collectivized nature of memories. I have a particular interest in the work of Chris Marker and in this context, I am particularly inspired by his films La Jetée (1962) and Sans Soleil (1983), in order to examine the relationship between memory and time.
Chris Marker is a French writer, photographer, film director and documentary filmmaker who has thought deeply about the functionality of memory, time and history. Sans Soleil is a poetic documentary in which letters written by a fictional character, Sandor Krasna, are read by a female narrator and travel through Tokyo, Guinea-Bissau, Iceland and San Francisco. The film depicts a traveler's travels lost in a temporal confusion. In this film, Marker questions how memory constructs the individual's sense of self and shapes a collective version of history. At this point, Sans Soleil serves as a guide for my own work. When viewers encounter Dés Vu, they tend to trace shared memories, making connections between their personal memories and the images they encounter. In this context, by anonymizing my memories, I aim to open them up for sharing on a universal scale.
Chris Marker's short film La Jetée presents a photo-novel style narrative in a 28-minute duration. With memory as a central theme, the film is a science fiction narrative in which time travel and the past and future intertwine. Set in the post-war devastation of Paris, in a world uninhabitable due to toxic weather conditions, prisoners are used for time travel experiments. The protagonist travels back to the past, each time clinging to the same memory, and this obsessive memory leads to deep reflections on the infinite emptiness of time. Marker's approach, similar to my Dés Vu work,allowed me to combine my personal history on different planes, blending the concepts of memory, time and memory with contemporary living conditions.
In my video Dés Vu, I bring together these two different pasts by superimposing my own memory photographs over the memory videos of others, a process that symbolizes the transformation of my personal memory into a collective memory. By connecting emotionally with my memories and those of others, viewers discover new connections between fragmented images of the past. The lived experiences of others intersect with our own at some point, and this intersection holds a place that is often invisible, but when recognized is deeply compelling. The interest in and attraction to the lives of others creates a sense of togetherness woven through fragmented images of the past. In this work, I aim to create not only memories, but also an inner sense of belonging, where these shared pasts and different lives come together.
Meditate, 2022
The rapid spread and easy accessibility of data imply an abundance of material, perhaps more than desired. By assembling these materials, I realized my work titled 'Meditate'With an ironic tone, I aimed to highlight the constant quest for mental wellbeing in today's society and suggest overcoming the illusions individuals create for themselves. In this work, where I attempted to subdue my frustration towards the new generation of healers, I wanted to confront everyone with the harsh and ironic reality of violence that they briefly acknowledge but tend to avoid. The sum up The "reality" that people avoid is presented with an ironic language. The idea of staying awake in this age has been directed to individuals who fall into the illusion of escape.
Sssupercut,2023
#aşk #baby #computers #demokrasi #existence #feelings #government #happy #iklim #just #kalp #lies #meov #no #om #politics #robots #sex #türkiye #ukraine #what #xxx #yes #zaman
For each letter of the alphabet, I selected key concepts drawn from both personal preferences and current cultural trends. I believe that digitalization plays a critical role in the reproducibility of images. In this context, I aimed to give new meaning to numerous video files—both from my personal archive and sourced online—by manipulating and recontextualizing them.
At the same time, I intended for this collage—composed of widely circulated and rapidly consumed videos—to reshape the perception of a traditional art space when exhibited within it. As a result, videos we normally access effortlessly on our tablets, phones, and computers reach us in a completely different way when experienced within a physical art environment.
In a sense, I sought to draw attention to the decreasing human attention span through these videos, which deliberately exclude conventional aesthetics and instead present new realities through brief narratives.
Technically, I used the montage method known as a “supercut,” a term first coined by Wired writer Andy Baio. To do this, I employed an open-source tool developed by Sam Lavigne, which allowed for rapid video slicing and sequencing. I then made detailed visual and sound edits in Adobe Premiere, and finally made the piece interactive using Touch Designer.