How do you aim to change the viewer’s perspective on public space and crowds with your work?

I really can’t say I have an interest in changing the viewer’s perspective. The reason why I place crowds made of clones into public spaces is that I am interested in the contrast. This way you can gather people to any empty space through your design. It is virtually impossible to put on any controlled show in large city squares. What I am attempting to do is to place these unrealizable crowds to the busy public spaces we use every day, and create an opportunity to see a version of these every day spaces that we’ve never seen before.

Not only do you manipulate movement, but you also alter time. How do you find that perfect loop and rhythm?

I believe this is the way visual projects, like music and dance, can alienate the viewer from time. I create a pattern by cloning a movement that repeats itself in sequential time. As such, time stops being linear and starts repeating itself. In a way, one or two seconds complete itself at that point that they start. To have an order within this structure made of clones, the movement has to be rhythmical. For this reason, I use a metronome or listen to music to keep up with the rhythm while performing large-scale works.

How do you utilize the crowd’s movements in large cities in your work? How do you come about with the design?

If I choose a square as the space I wish to use, I believe in taking that square’s history into account. I design my work in two different ways. If there is a performance I have in mind, I try to find a suitable space for it. Or if I am interested in a space, I try to think of a suitable performance to take place there.

Today, crowd flows also create data flows. What kind of a relationship do you see between your works Stumblers and Formaphone and the waves formed by data flows?

There is a conclusion I have reached intuitively. I believe that situations are cyclical; while some of these cycles take a long time to complete, the others happen very quickly. The significant incidents that affect our lives gravely, and their subsequent results always seem to me to be familiar with harmonic structures in vibration physics. For me, an effective situation shares similarity with an effective sound.

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