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In my art practice, I am trying to indicate suggestions and reminders that manifest through black and white photographs. Silver-based process and use of 35mm film in the dark room is the method that I prefer to work with, this provides my practice with exploration of materials and visuality of a photograph. The meaning of suggestions and reminders evokes a sense of appreciation towards landscape and nature. I suppose that in my personal thoughts this comprehends with memories and homeland that indicates a sense of belonging. This approach I am developing through searching for similar locations that reminds the precious place. Recently, my practice consists from an act of crumpling and tearing the photographs as a narrative response to sensibility, re-creation, worth and immortalisation. This revealing process of manipulation with flat materials creates a different perception that obscures some parts of a photograph. Both acts create transformation that indicates the thought that photographs in my practice suggest changing from discarded to precious objects.  

Natural reservations, trees and plants are overtaking the subject matter in my photographs. This significance of trees reflects the relationship between nature and human being that I am communicating through sentimental series of black and white photographs, Polaroids, videos, audios and visual experiments. Capturing the light creates a significant tonal value that appearance is atmospheric and faded to reflects the coexisting meanings and appreciation towards memories and past. 

Trees appears, at first gaze as simple subject matter but the monochromatic tonal value opens-up dimensions that creates a feeling of depth. To explore the photographs further, I like to repeat the narrative process until the image is neat and aesthetically pleasing. In the darkroom I can achieve similar visuality in the photographs that I like to gather into series. To emphasize the tone within the photographs I like to work with digital equipment such as scanner and printer as this allows me to work with materials that have a translucent quality. Tracing and drawing paper, acetate and rice paper are completing this approach and create a connection with the significance of inner and outer as these materials have a see-through quality. Although, my practice is photography based this method creates collaboration within the materials that can manifest into video, sculpture and installation.

 
To expand the photographs into scale I like to use equipment like the 35 mm slide projector or digital projector. This creates opportunities to test variety of materials that photograph can be projected on. Tracing paper works very successfully on this approach because the manipulation with this paper can transform the final visuality of the installation.   

While focusing on studio practice I am searching for theoretical and philosophical references, photographers and writers. Recently, I have been inspired by photographers: Josef Sudek and book ‘The Window of My Studio’, Martina Corry’s ‘Photogenic Drawings’, Eric David’s fine art photographs, Andrey Tarkovsky’s ‘Polaroids’ and film ‘Nostalghia’, poet Josef Hora and his book ‘Domovina’ (Homeland) and writers: John Berger and book ‘And our faces, my heart, brief as photos, Arnold Berleant’s book  ‘Art and Engagement,’ and Freeman Patterson’s book ‘Photography and the art of seeing’.