Aç Yazı 02

While I was working on "Meadow of the Tempest", at the same time I was designing the cover of the second volume of As Yaz, the three pages allocated to me in this volume and working out a pattern for 32 copies.

This work was more about creating patterns on paper and finding the sounds of words. It was an attempt to make a sense out of all of these as a whole. As I said, I was producing two separate works, simultaneously.

Consequently, "Meadow of the Tempest" and Ag Yazi got intertwined, penetrated into one another.

For the front and back covers of As Yaz I drew an image that falls, pours out, frays, opens and explodes, mostly in gold. For each of my three pages in the magazine, I drew or smeared three blots in black ink. On the blots, I picked out their volumes in graphite. Again, using graphite, I wrote the words TACHE (French), TAS (Turkish), TRASH (English) under the illustrations on the first, second and third pages respectively.

I came up with a consonance among the three different languages. Apart from the consonance, these three words were interrelated in terms of meaning. Blot, Stone, Trash. A blot appears on the page, turns into a stone and then becomes trash. Isn't a stone something formed through the cooling of the lava expelled by the volcano? For all 32 copies of the magazine, I made a design that could be both viewed as a separate unit and perceived as part of a whole set of designs on all 32 copies. I created a structure/ pattern that worked and functioned like a jigsaw puzzle. First, I laid all 32 copies on a table. Then, walking around the table, I drew spring-shaped circular lines expanding from the centre of the rectangle formed by the 32 copies.

The lines grew wider and spread outwards. It resembled the way the waves roll out from the centre after a stone has fallen into the water.

This pattern could be seen only once, when the 32 copies were exhibited all together. The moment one of the copies was bought, it was taken away. The buyer took a small part of the waves with him. In order to recreate the same pattern, you would need to ask 32 individual buyers to bring their copies back. After all, is it really natural to remake a puzzle?

This is more like a time-specific work, rather than a site-specific one.

How many times can the waves produced by a stone dropped into the sea generate the same natural effects again, once the stone has been thrown?

Man Throwing Stone into the Sea, within the "Meadow of the Tempest", Tempest, the three lava stones carrying an opaque white fibre corrugated roof, the stony ruined landscape photos of Kara Köy and the various states of a Juniper Tree, showing it like a black blot on a white hill as a background... All these pieces became interrelated with Aç Yazı.

In Aç Yazı, in terms of imaging, there was a movement, which led to an impact, which created a spreading. The photograph titled Man Throwing Stone into the Sea reflects a moment, a momentary movement, that split-second before the stone touches the surface of the water. It is the frozen motion of the stone, and its momentum in flight. In reality, the impact between stone and surface of the sea will soon occur. Just after this impact, the stone will create a movement in the water, an explosion generating a temporary corona. Then the stone mass will commence its journey towards the watery deep. As the splash/corona on the surface falls back, we will notice waves pushing one another out from the centre of impact. As they get farther from the centre, they will lose energy.

Eventually, they will all disappear, one by one. In real-time, all of this happens in seconds.

Usually, throwing a stone at someone or somewhere is an act of fending off or hunting. It involves a reaction.

In this photo, what is the man's purpose? Why does he throw the stone into the sea? Everyone may have different motives for throwing stones into water. It might be anything: discharging energy, a sense of relief or liberation, an impulse to test oneself to see how far the stone can be thrown...

Two separate exhibitions, despite differences in their media and modes of attribution, the "Meadow of the Tempest" and "Aç Yazi" interacted in a certain way, I believe, due to their being made simultaneously. They form sentences with similar grammars, despite the distinctive character of their vocabularies.