exhibits
BARDO
21.12.24 - 23.02.25 FIRIN Art Space Eskişehir TR
In Tibetan Buddhism, "Bardo" is defined as an "intermediate state," and this exhibition explores the fluid, transformative spaces that lie between dualities. With a desire to think beyond anthropocentric perspectives, BARDO reminds us that identities and bodies are not fixed but are in a state of constant transformation. It envisions life as a space shaped not only by the visible but also by the invisible, inviting the viewer to consider existence from a post-human perspective.
In this exhibition, time is regarded as an indivisible whole, where past, present, and future cannot be separated, while the artist’s presence leaves an imprint somewhere between being and nonbeing. Nature is presented as a concept molded by human perception, challenging the notion of an original essence in nature. Love is envisioned as an asymmetrical, decentered movement between bodies, and life as a process in continuous transformation, extending beyond human sight to encompass the unseen. Human experience does not observe life from an outside perspective; life, too, looks at and shapes humanity.
The exhibition is composed of textile works dyed with colors extracted from plants, wild clay collected and processed from the Datça Peninsula where the artist lives and works, found objects gathered from various parts of the earth, and photographic installations. Each element embodies a threshold between part and whole. This exhibition evokes a sense of an in-between space where the unfixable, the non-binary, and the hybrid coalesce in trembling harmony, an interval where entities permeate one another. It invites the viewer to seek new meanings within this threshold, filled with potential and transformation.
In this exhibition, time is regarded as an indivisible whole, where past, present, and future cannot be separated, while the artist’s presence leaves an imprint somewhere between being and nonbeing. Nature is presented as a concept molded by human perception, challenging the notion of an original essence in nature. Love is envisioned as an asymmetrical, decentered movement between bodies, and life as a process in continuous transformation, extending beyond human sight to encompass the unseen. Human experience does not observe life from an outside perspective; life, too, looks at and shapes humanity.
The exhibition is composed of textile works dyed with colors extracted from plants, wild clay collected and processed from the Datça Peninsula where the artist lives and works, found objects gathered from various parts of the earth, and photographic installations. Each element embodies a threshold between part and whole. This exhibition evokes a sense of an in-between space where the unfixable, the non-binary, and the hybrid coalesce in trembling harmony, an interval where entities permeate one another. It invites the viewer to seek new meanings within this threshold, filled with potential and transformation.
I lay still like a dead body on warm stones and imagined a veil gently oscillating along the line that both separated and connected the two sides of my body: more fluid than solid, more solid than fluid, light and permeable, a dense yet flowing presence. As though a narrow opening through which all of the time thinned and seeped through—a site of encounter where everything unfolds. With its rippling, drifting movement, it never settles into symmetry, a hybrid coexistence of those who need not be opposites. Being or non-being, visible or invisible, inside or outside, part or whole: I am in-between. There is no conclusion to be reached, no obstacle to overcome, no naked truth hidden beneath the veil to uncover. The veil oscillates at the threshold where both/and is embraced, not either/or, is me.
