I follow the traces I observe around my surroundings during my walks, changed and left by natural events and environmental factors. I try to track the traces that appear on the road and the soil, the marks left by rain or any weather event, and the unconscious interventions made by people. Changing and transforming terrains, erupting volcanic mountains, deposits and layers formed by flood waters can be seen as a part of the work.
*The Blue of Distance derives its name from the book from A Field Guide for Getting Lost, by Rebecca Solnit,
“The world is blue at its edges and in its depths. is blue is the light that got lost. Light at the blue end of the spectrum does not travel the whole distance from the sun to us. It disperses among the molecules of the air, it scatters in water. Water is colorless, shallow water appears to be the color of whatever lies underneath it,but deepwater is full of this scattered light, the purer the water the deeper the blue. The sky is blue for the same reason, but the blue at the horizon, the blue of land that seems to be dissolving into the sky, is a deeper, dreamier, melancholy blue, the blue at the farthest reaches of the places where you see for miles, the blue of distance. This light that does not touch us, does not travel the whole distance, the light that gets lost, gives us the beauty of the world, so much of which is in the color blue.”
Ink and charcoal on paper in various dimensions, leaded stained glass, led light, wooden construction.
280 x 165 cm
Photographs: Kayhan Kaygusuz