Most Days are Cloudy
(2022-2023)
click to view thesis to accompany
Most Days are Cloudy is a research into what Port Meadow is. Referencing the correspondences of John Berger and John Christie, the project explores the relationship between place, colour and mood.
The installation is a meditation on the silver-ness of the meadow. The three-meter long, offset wall creates a corridor within the exhibition space. The silver painted front is animated with the light that changes throughout the day, reciprocating the way colours change in the meadow with time and weather. Behind the long strip and three square openings on the wall, photographs documenting the meadow over the course of a year are displayed, back-lit by the contrast in light between the exhibition space and the corridor.
Special thanks to Harry, Matty, Simon, Chris, Eve, Rachel and Spike for patiently helping.
Demande de retrait
des encombrants*
(2023)
"60 people submitted images and texts via e-mail between the 3rd and 25th of September 2022. The submissions were made into postcards and posted at random to participants."
"3-25 Eylül 2022 tarihleri arasında 60 kişi e-posta yoluyla imajlar ve metinler gönderdi. Gönderiler kartpostal haline getirildi ve katılımcılara rastgele postalandı."
All participants received three postcards: one from a stranger, one copy of their own,
and one from myself.
Postcards to strangers /
Yabancılara kartpostallar
(2022)
148 x 105 mm
How many is too many
or
Home journey stills
(2021)
3135 x 209 mm
or
209x209 mm
click here to see inside
How many is too many?
What is the limit
The limit does not exist
until
you decide to define
(and one must remember that you can always un-define)
What we seem to take for granted is
that time flows in one direction
however, in the statement
which shamelessly appears
as a fact to many
we forget that time is in-dependent
and also co-dependent
simultaneously
as
it will flow forever
even if you do not wish
and even if
you are dead
if everyone is dead
and there is no one
time will still flow
for no one
which is thus
inadvertently
everyone
still
but,
also,
time will flow just for you
as long as
you are alive
and breathing
time is yours
and you
are time
Berlin to Aachen
(2021)
2 min 43 sec
“ appearances are produced from all objects, not according to the nature of the objects themselves, but according to the condition of mind or body of those to whom these appearances come ”
Aulus Gellius, the pyrrhonist view on phantasiai
The singularity of a
moment, it's full
comprehension, and
the pinhole
(2020)
click here to see inside
Edition of 10, printed in Paris, May 2022 - available at Librarie Sans Titre
One interpretation of the full comprehension of a moment could manifest itself in an unfolding of its space to flatten in the second dimension. The conceptual transformation of the photography and its loss remains, however the spatial arrangement of the six images assign them a new role. The perception of the viewer is shifted to think spatially rather than viewing the image as a window.
When the same six images of the moment are
re-ordered to be adjacent to one-another they no longer read as a space, but rather as six adjacent windows opening up into six adjacent moments.
Un coup de dés
jamais n'abolira
le hasard
(2019)
The poem Un coup de dés jamais n'abolira le hasard (A throw of the dice with never abolish chance)
by Stéphane Mallarmé spans over twenty pages, and is written in eight typefaces. It is one of the earliest free-verse poems, using the full space of the double spread, describing multiple simultaneous realities of a shipwreck. However, the events taking place within the poem become irrelevant, as the poem acts as a metaphor exploring the notion of simultaneity in space and time,
allowing for multiple interpretations.
The site of the double spread and my room are submerged in this installation recreating the shipwreck through three paralleled realities: the 'real', the digital (rendered), and the manufactured (scale model).
1:20 model of room, 280 x 195 x 500 mm, plaster, steel, PLA, perspex, and plastic
