MA Studies > Fine art > Fine art alumnus > Zeynep Kayan

Zeynep Kayan

Zeynep Kayan

My research started with the idea of how cultural, referential boundaries and restrictions may be left behind within different artistic communications involving viewer’s participation. It continued to shape within the methodology of my work, reproduction, re-representation towards more analogue, intimate, individual experiences in which the viewer will act as an editing machine through their own physicalities creating their own time.

I reshoot my photographs and videos from the computer screen mostly in terms of tonal and compositional varieties it offers me, but also the fact that I can add layers or say hide things on the imagery.  In the beginning it was more working towards hiding the faces of the bodies.  Later it opened up different ways to deal with.

Within the photographs I believe the bodies already represented by the original photographs are being subjected to another representation that creates even more distance.  This re-representation for me is the thing giving the ambiguity for the viewers to draw their own meanings.  And I believe that it fits to the atmosphere of the photographs- that almost shows and hides at the same time.  Through the re-representation the original is being questioned. However for me there is no original version of the work, but rather it literally keeps changing.  How the photographs are being redefined over and over.   

In the way I reproduce my own images, there is this reason that I don’t like them remaining in one and only state.  My fascination with putting images next to each other is reasoning from the same necessity.  Images exchange meanings and usages endlessly, opening up more than one entrance and conclusions.  


And within my video works, both the reproduction and putting the images next to each other adds different sound and time based strategies.  In this case it is now not only the tonal and compositional qualities but also the recreated image’s time and the juxtaposition of these different time intervals working at the same time yet still on their own. In a way I see them as an extension of my photographic work, that there is not really a narrative but that it is somewhat performative and moving portrayals.