What do I really do?

I believe that the artworks based on traditional mediums are not sufficient anymore in the case of interacting with its audience, because of the mass image consumption and low attention time of today’s people. Thus, the audience acts as a “passive observer” in front of these conventional works of art. That being the case, the observation of the audience can not transform into an individual experience especially in organizations like art fairs where the space is limited regarding the number of the exhibited artworks. Newer, more experimental forms of art are needed to make it experienced. That’s why I put performance at the center of my artistic creation. I prioritize the artistic creative process over an end product. In performative artworks, the creative process itself is presented with all of its being while open to any kind of manipulation, in contrast to a painting that is bought by one who owns a matching interior design. Both the space where the performance comes into existence and the interference of its “participants” shapes the happening instantly while detracting the artwork from systematization. The interference of the audience includes both visible interactions and invisible motives as triggers of the action and reaction. These factors contribute to the randomness and uncertainty of “happening” while referencing the creative process itself. I want to focus on the open-ended and evolutionary nature of the works. I believe that this is the only way the observation can transform into a personal experience and the artworks are open to act of perception. Artworks that include human and machine interactions underline the effect of chance and accidentality by welcoming them. If the structure of the machine system is based on interaction, the state or act of its audience becomes an input, it can be even the pulse rate of one, an instant unique response will be generated as performer reacts. From this point of view, I want to create works that combine performance and technology.