Space in the Glass

The image-selling merchant left for the distant sand desert with many dependents and costly tools. The end of the horizon was a void, being swept across with sandy, barely audible wind. When the wind died, the frowned face started to look for that place once visited. It's tiresome and backbreaking; if there is nothing to be gained from there, only suffering and debt would accumulate. The fleeting mirage conjures up the ancestors who once traversed the Silk Road. Those who crossed over the East and the West were the founders of a new civilization. The bluffer Marco Polo crossed back and forth between reality and fantasy, fabricating a picture of the world through language, which stimulated the curiosity of the mankind and prompted them to endlessly develop and fortify their cities in order to conquer the unknown world.

One wonders if those worlds actually existed. Only the objects wrapped in mysticism, brought by the merchants through their long travels along the Silk Road, bred the human greed. As it has always been in the past, the footsteps of the arrested time is drooped in the eternal desert. One person is separated from the caravan and is diminished to the size of a thumbnail. Life starts to pulsate in the severed time, with meticulously staged actors dancing. They try to escape being defined of this age, and the weight of reality is lifted. Clear awareness disappears into the faint ends of the horizon and what's left is a certain stage, where reality and fabrication intersect. The history of mankind began from tragedy.

Trapped in categories of death, despair and fate, the mankind nurtured a clear and lucid consciousness in order to escape them, ultimately leading to the evolution of a rich useful medium, born from the human struggle. The sly cunning vision, resisting yet seeking convenience, started to blind us at a certain point. The horizontality of nature is recalled through the silence of the boundless land, hushing the clamorous man-made vertical aspirations into complete stillness. Here, removed from civilization, people become actors, not in order to awaken the days of the past, but out of genuine desire to lead a pastoral life provided by earth. They are the main characters, not as owners of nature, but as entities to perform the important role of creating an image under the lyrical shades of nature.

They are not intemperate, at least in the image. A close interpretation and internalization of that specific location -the observer's exploration- probably preceded. There are no shadows of tragic destiny, nor are there any fairies seeking utopia in the artist's photographs. What is pursued is not the other side of the world, but a twilight zone, a world where all things, even forgotten places, are permitted. Anywhere the carriage stops becomes the stage; all eyes turn to it, arousing the atmosphere. The discovery of stored alcohol long ago led to interspersion of places of origin and fixed settlements. They deciphered places beyond the horizon without migration. Like that, memories faded through the flow of time, over the dimming horizon.

Rare and precious secrets are probably still hidden there. Or perhaps another world spread before the eyes. Hypothesis became a theory, and then a study. The critical eye is based on a scholarly perspective only when it has been verified. If not, it's vulgar and savage. As perfect urbanization and reasoning does not allow any errors even in the reality of imagination, it does not acknowledge the ambiguous circular vision. In the circular vision, there are no corners; corners lend themselves as the coordinates from which to slowly move in towards the center. Actually, there is a white blank in the circular eye. The blank in the world, identical to the blank in vision, drew the space in the photograph.

The clear reason for presence is hidden in that blank, with only its clear potential touching the greyish sky, drawing the life out of colors. Presence, regardless of people, objects, even common sense, entering into this space is absorbed into the desert. The circular photograph is not about revealing the discrepancy between reality and representation. Rather, the photograph captures the exact point in location where reality and representation mutually merge into each other, alluding to the fact that the shadow of the light which penetrates through glass and floods into a space, is in fact also a light with its own colors.