Photography is inherently constructed. The tension stemming from the essential ambiguity of an image extracted from time and space provides the raw material for “First Impression.” I believe that our eyes and minds gather visual information from photographs to then create a larger story. A picture of the ground strewn with detritus and a teddy bear might initially remind us of a picture of an astronaut because of our previous knowledge and experiences. We live in a construction of errors that becomes supported by images and first impressions. An unprecedented surface might evoke moon because of the scientific theories and pictures to which we have been exposed. Photography can extract an answerless question from a common event: as one’s body position and its observer’s perspective change, the existence of gravity might become unfamiliar. I hope that my photographs grow over time in the imagination of viewers. The response or rather, the responsiveness of the viewer is what grows into their own story. The askew angles of my camera and the off-beat framings contribute to the inherent tension and ambiguity in the darkness of images.
İntiba / Book
İntiba Exhibition Views
Sinem Dişli's last solo show, Intiba(first-impression) opens on November 15th, 2011 at Han 38 organized by x-ist in collaboration with Han 38.
Since the very beginning, Sinem Dişli's work focuses on feelings of abandonment and estrangement by questioning identity issue. Starting her journey with the exploration of family albums, Dişli's first photography series, Resistance was firmly grounded on the abandonment- fear of rejection, commitment, trust-intimacy and reconcilement-alienation issues. In her Anamnesis series, exhibited in 2009 at x-ist, she questioned how our senses recreate our body and the object, how our stand in the ever-changing, reflecting universe varies from sense to sense, place to place and culture to culture.
In Dişli's most recent body of work, Imprint opening on November 15th at Han 38 with the collaboration of x-ist and Han 38, the artist interprets abandonment as a starting point, rather than a finish line, while memory becomes a metamorphic process, rather than a lost moment. In Dişli's works, a neat denouement is not given away not but rather, each image further complicates the triangular relationship between the viewer, the image and the artist. The stories of each object and person in her works point out an infinite interaction. Dişli explores the leftovers, ceded objects, what is believed to return to live in a new form after its disappearance in the nature and the adaptation coming from change through her works.
Intiba does not represent a single emotion or state, but rather multiple states and emotions and it is the poetics of this plurality that cause the viewer to waver between different states of mind and the impact is jarring.
Dişli's last exhibition, Intiba goes beyond x-ist's space and meets with the audience at Han 38, an alternative non-institutional space in Karaköy. It invites the viewer to participate and enjoy the process of being confused, somehow manipulated and touched, and presents space and time to editorialize their own stories through images and installations in the series. The exhibit can be seen till November 30th, 2011 at Han 38.