Oh My Hearth

2024

This self-portrait does not function as a representation of the artist, but as a surface where the relationship between the human and nature is dismantled and reconfigured. The work approaches the modern subject not only as detached from nature, but as an active agent in producing and sustaining that detachment.
The garden enclosed by barbed wire does not describe an external landscape, but a controlled mental territory. It exposes both the limits imposed by systems and the ways in which the individual internalizes and reproduces them. Isolation is not external—it is actively maintained.
The waste cables extending from the heart do not merely signify consumption; they reveal the body as an interface integrated into larger systems. The human is not only a victim of these networks, but also their carrier and perpetuator. The boundary between interior and exterior is unstable, constantly breached and redrawn.
Traditional Turkish tile art is not treated as a neutral heritage, but as a field to be reworked. A language historically associated with order, repetition, and surface is here disrupted and forced into a different register.
The work exceeds the limits of self-portraiture, confronting the entanglement of human agency and systemic structures, displacing the human from its central position and forcing a confrontation with responsibility.

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