w
2
w
3
w
6
w
7
1 4 . 2
1 4 . 3
w10 1 8 . 4
2 1 . 2
2 1 . 3
w11 2 5 . 4
w 1
w 4
.
.
4
w
5
8
w
9
3
4
w13 9
.
5
7-10.3
1 1 . 4
w14 1 6 . 5
c e n s o r e d w 2 / / @ t a ş k ı ş l a
a structural collage that collapses the perspectives to nudism in ancient times through now. the base level is built with ancient caryatids and covered by the walls within the hands unsuccessfully hiding their s e x u a l o r g a n s. while exploring the reflections, we band the base, looked through different angles. structure reflected as two storey building with its elements and its collapsed plan.
imperfection
w 3//@yky building @ t a k s i m what if the regular drawing process changed by using the u n e x p e c t e d parts of our body?
1
o f f - h a n d ;
a k d e n i z
s c u l p t u r e
the search on any tactic to use i n e f f i c i e n t h a n d efficiently . the tactic for the figure was to build hand-eye coordination; for the direct lines moving the paper in the direction of them.
2 u l
s i
o t h e r a b l e g
up left up right middle down left
h
t
e
p u b l i c l y o r g a n s n
i
n
g
s
w / left hand, ring and pinky fingers; w / mouth; w / two hands; w / feet.
3 c o n t i n u o u s s k e t c h e s o f t h e b u i l d i n g e l e m e n t s ; while drawing lines, we also walked and drew a line as ourselves at beyoÄ&#x;lu streets. I figured whatever attracts my attenion or changed my movement. the spatial finishings such as corners, stairs, doors were the attractive spaces.
the other finishings was the moment cutters, such as the moment the violin player’s entering the passage, the times I saw myreflections, and so on.. the second layer of drawings aims to emphasize the main topic, f i n i s h i n g s o f b u i l t e n v i r o n m e n t.
f u t u r e stratigr a p h y
w 4// @m o s a i c m u s e u m @ sanatçılar ç a r ş ı s ı
a new method of a r c h e o l o g i c a l e x c a v a t i o n has been tried while drawing. the method was layering different sections of mosaic museum ontop eachother with oil pastel. after the full paper pastel section, the cover layer of blue pastel came on as top layer. the excavation of the section is on the covering layer. the section also supposed to reveal the first section, but the low priced pastels had not allowed revealing.
the method of layering and excavating was repeated but this time the layers mentioned some spatiotemporality. the first layer of pastel was a present section of sanatçılar çarşısı, the excavated layer was about to build a f u t u r e s c e n a r i o revealing what can remain from then.
i n s t i t u t e o f e v e r y d a y l i f e w5//@mediterranean cost f i e l d t r i p
the measure of change representing the change in material. the measurement was with the density of dots and lines. / / @tarsus.
t h e how
it
c h a n g e
grews,
moves
and
i n
dies.
/
/
w a v e s
@iskenderun
l
i
g
h
t
w / charcoal / /
&
s
h
a
d
o
w
@saint pierre church, hatay
stories /
/
of
objects
from
@archeology
other
museum,
times
hatay
documentaion
of
dÜner’s
preparation
process
/
/
@hatay
i n t e r s t i t i a l *
s p a c e
‘ drawing experience of passing from one place other through an intersitial space. / / 1 2
to an@hatay
a small or narrow space or interval between things or parts. an interval of time.
pastel excavation of ancient graveyard. / /
@samandaÄ&#x;, hatay
e
x
c
u
i
s
i
t
e
c
o
r
p
s
e
the method was using a folded paper, giving line clues to the side blank part. the story is built while answering the questions of who, when and what happened. / / @mersin
archeology
museum,
landscape
sketch
/
/
@osmaniye,
kadirli
e x c u i s i t e /
/
c o r p s e @backtrip
t r a n s m o g r i f i e d w 6 / /
@ s a l t
g a l a t a
the collage was made with interior photographs of salt galata and our visions at the same point and direction of the place. the emphasis was on how light enters from the openings, the wholistic symmetry, and the vertical spatial organization. the glass roof elements give a sense of virtuality about what may happen at the other space. while giving only clues about what may happen at the other side of the surface.
/
/
@
g
a
l
a
t
a
the other phase of the session was about to collage an old photograph from galata, finding the exact place and built an intermediate between then and now. the narrative of the collage was about what is remained after decades. the spatiotemporal changes in the life of those streets. the changes that hurt and bleed galata with its people. little human livings were squeezed between then and now, some of them had escaped with finding a place at the new shell, some sought a way to survive, and/or died.
t
w
7
w
/
i
/
s
t
@
o t
a
r
h
t
a
a
m
k
a
l
a
e
the filter in our vision to see the environment. the focus of the vision was on changing elements. the first three squares are the visuals in the reflection elements such as the glasses, marble banks, and the reflections of lights / shadows. at last three; the way of sensing the environment from twisted visions was influenced by the movement of the crowd. when one has blocked my direction, I drew the image with black with details, since my vision was also more detailed . while walking, I drew with a purple marker with just giving the shapes in the vision I had.
the vision through the environment was twisted with a found/bought object. the first was a soda glass, it gives a blurry, laterally twisted image, the vision of what is behind is twisted by the material as how it is detailed. while the soda is full, it reflects the image in y-axis; also, the bubblings occur and block image while shaking the bottle. the second material was a ‘dream tulle’. it is used as a censored blocking surface. overlapping surfaces of tulle made a glitchy image. while stretching it in different angles, tulle constructs circling fluid shapes.
t i m e w 8
/ /
m a c h i n e
@ s a l t b e y o Ä&#x; l u @hazzapulo passage
a search on behaviors of different people lived in different eras at the same place.
research on reĹ&#x;ad ekrem koçu’s istanbul encyclopedia. slave people were selected. the image is from the ties when and women slave transaction was rightful. the women slaves have kidnapped or sold by their parents to the slave-salesman. slaves from both genders have usually been migrants.
the second search was on currently living people from istiklal street. at mustafa amca, while observing people, I had to chance to interview with one of the subjects. he did not want to give his real name. he alienates the society he lives with and sees it as a society of questionless believers. he avoids from the subway. his free time activity at istanbul are to visit wherever he can and to entertain himself with theatre and cinema.
l i n o l e u m w 9
/ /
p r i n t
@ t a Ĺ&#x; k Äą Ĺ&#x; l a
s e l f - m o v i n g - p o r t r a i t s 3 visualizations of myself with linol engraving and printing. four parts of tiny linols are used; for background, two body figures and arrow. 1
d
a
n
c
i
n
g.
2
swimming & diving to the subside of the sea
3
m o v e m e n t s
w h i l e
s e l f - f i g h t i n g
f
w
o
10
/
l
/
d
&
o
p
@
e
i
m
n
ç
the architecture of the building, doğan tekeli, won the architectural competition about imalatçılar çarşısı in 1957. the building is designed to be related to the context of istanbul. it has a laterally growing plan that goes with the slope of its ground. it reveals what are behind, not covers them. the sense of unity is presented in simplicity.
the drawings were onto emphasize the sense of unity with using them as the dimensions of folding, then drew. the folded completed
page the
is drawn by lines under
me, nazlÄą Äąrmak the folded
pekel parts.
Ĺrmak’s folded ued with my
sketch of the corner continlines under the folded parts.
panoramic landscape w 11
/
out of ink: plores the
/
@ p e r a m u s e u m @ ş i ş h a n e p a r k
interpretations from chinese contemporary essential ideas of the ink painting
art extradition.
1 exploring ink with ourselves as a part of the panoramic view from şişhane park.
2 emphasizing the movements from the same point of view.
city of crossed destinies w 13 / /
@ a r c h e o l o g y m u s e u m
narrating spontaneous stories from history istanbul, with its objects, subjects, places, and actions. each participant drew 12 tarot cart, 3 for each category; then interchanged to make up a story.
a priest who had lived at the city gate of istanbul had a sculpture of god. this sculpture was poisonous, the god was from a religion he did not believe it. he used its sculpture to poison whoever worshiped it.
cybele and her musicians made a snake dance with their hypnotizing dance. while that, cybele cursed the snake with a talisman, used lots of spiritual energy. meanwhile, one of the musician’s dad has to waterproof the roof of houses, his eyes dazzled while cursing then died.
a peacock found water pipe, did not know what to do with that, asked a friend what could he make with a pipe, used as a pipe. but this was not the pipe her friend mentioned about. this was hilarious, they laughed at this under the roofs.
tales w 14 / /
from
@mihrimah
garbage
sultan
mosque
after searching for garbage food at sultanahmet bazaar, the collectings used as a tool to represent the dirtiness at the site. what could be underground and overground was painted with garbage as a section: the pollution at the air, underground system of waste, dead bodies at the graveyard.