Still Moving Image

14 x 14  x 26 inches

Mixed Media: Playwood, Glass, Oil Paint, Acrylic
2025

The distance between the single eye (painted on a square glass piece), the face (painted on the wall), and the view frame is designed in a way that by looking through the open frame, the single eye would gradually become two completing the face on the wall. The camera lens could not capture the human vision, so the last image was made up, in order to present the viewer’s experience.

Adam & Eve

The sun is looking into the mirror at night

A small room size Camera Obscura, with 2 chairs and a projector inside, presents 2 channel moving images on two walls sides to the viewers. One is a video, projecting footages of the sun reflection on the earth in everyday life, and the other is the live upside-down reflection of the gallery. The black segments embodied within the video, would make the camera obscura effect much more visible.

The Heart

After image

The repeated film of a face is screened on the wall of the gallery in a loop projection. A photograph of the same face is in the natural light with a live camera projecting that on the wall of the gallery space across the loop projection. The projected image of the photograph is bright in daylight and dark, as it gets darker as the day progresses.

I projected my previous video “Artificial Respiration” on the wall, then I shot the projected video with a 35 mm photo camera in black and white while I shot the same video with a 16 mm film camera in black and white. In a loop projection, I screened the film on the wall of the gallery. For the still photo, I put the photograph in the natural light with a live camera projecting the live video on the wall of the gallery space across the loop projection. The sound of the shutter is also playing on a loop in the space, which is in sync with the blinking. Therefore the projected image of the photograph is bright in daylight and dark, as it gets darker as the day progresses until nighttime when the image is no longer visible. This process repeats itself each day. So there are two videos facing each other showing a man’s face.

I tried to rescue a recorded instant by offering an alternative life for it within a loop or a “live” video.

*Artificial Respiration: This video shows a close-up of a man’s face; he is looking at the camera and blinking. The consistency of his persistent gaze makes you wonder if the continuity of the action is a simulation. My intention was to create a moving, breathing image out of a recorded moment.

Fire on clay

The title is: we both step and not step in the same River

In this installation for the first step, I was more interested in whether I can use the material or volume to indicate the negative space.
I started this installation by strings. I connected two opposite walls of my studio vertically from the center point by several parallel horizontal strings from one-meter lower than the top of the ceiling to one-meter upper than the bottom of the floor. So, it was possible to move around the space. Two groups of strings crossed each other at the center of the room without touching each other. So, you have a strong sense of a vertical line at the center of the room by connecting the imagined crosses points to each other. The line is compatible with the exact definition of line. It doesn’t have any thickness so it’s not made of volume or material, comes from connection between two dots (which don’t really exist in reality as well).

This work included a documented video of previous work of mine (next one in the documentation), which was a rectangle hole, which I had made into the middle wall in the gallery. The hole was framed from both sides. The title of that work was “untitled or ID photo”. You could see whether other art works or people in the gallery through that. I shot the hole from both sides by a video camera. I projected the first video through strings on a wall of my studio, and the other one on the other side of the same wall exactly at the same place as the first one in my neighbor studio. In this part even the story of the negative space in the wall doesn’t have its material/ volume.