No Entry Allowed is a photography based collage work that approaches urban details as elements that can be taken apart and reassembled. Each image is constructed from one or more photographs taken mainly in Istanbul, as well as in other Turkish cities. Shot with an ultra telephoto lens, the original images isolate small details such as surfaces, structures and moments that are insignificant and often escape attention. In the second stage, these fragments are reassembled into new configurations. Fictional moments emerge through unexpected combinations, layering, and repetition. These compositions offer a personal reading of ongoing processes of decay, rebuilding, and transformation within the urban environment.

Disappointment is usually seen as something small, personal, or something you just have to get over quietly. But I think it can reveal a lot. It shows what we care about, what we wanted, and what we were still hoping to hold on to. In this project, I look at disappointment not only as failure, but as a moment when things become more clear. The series moves between important life events and small everyday letdowns through symbolic images and abstract fragments. Some photographs point to moments that feel specific or decisive, while others are harder to place. They stay unresolved or difficult to explain. Together, the images create a sense of uncertainty and unpredictability. I am not trying to build a clear story. Instead, I am interested in the emotional space that opens up when something does not happen the way we expected. The project asks the viewer to stay with that feeling, without trying to resolve it too quickly. At a time when images are seen and forgotten very fast, and emotions are often made simple, Get Ready to Be Disappointed stays with a quieter kind of rupture. It is about the hidden experiences that shape us from the inside. Disappointment becomes something shared, something that unsettles us, reveals us, and does not fully disappear into the background.

Excavation is one of the most fundamental human activities, reflecting our primal connection to the earth. This project explores this relationship through a surreal vision in which a flat plane of ground opens to reveal a subterranean passage. As we descend into the passage and travel through it the landscape unfolds as a space for contemplation and reflection. The work invites viewers on a journey that evokes a sense of pilgrimage. Through this imagined terrain, it encourages reflection on life and the cyclical nature of existence. Sound Design: Can Kuman

Inspired by David Hockney’s photographic collages and his research into Johannes Vermeer’s techniques for achieving accurate perspective and realism, this project transforms the room that Vermeer is believed to have used as his studio throughout his entire career into a three-dimensional abstraction. The same room also appears repeatedly as an interior backdrop in his paintings. Drawing on Hockney’s multi-perspective approach, it combines elements from paintings staged within this space into a single sculptural composition. While initially perceived as a complete abstraction, closer inspection reveals that from specific viewpoints the fragmented elements align into coherent, recognizable scenes derived from Vermeer’s paintings.

This project was realized in Tokyo during a two week workshop organized by École cantonale d'art de Lausanne in collaboration with Japanese photographer Taisuke Koyama and the Tokyo Photographic Research Project. For the resulting publication visit: ecal-shop.ch/en/product/higurashi

Is there an immaterial future for historical artifacts where the material existence of the artifact loses significance and only the information that has been collected from the object holds value? This work addresses this issue, exploring a speculative future of archaeology and the potential change in our value system in the light of ever-expanding information retrieval and processing technologies. It’s a future where the information and its subsequent copies reign and the original is sacrificed to time.

In collaboration with Emidio Battipaglia & Philipp Klak