Susan Sontag mentions that photographs give people an imaginary possession of a past that is unreal. In the act of taking a photograph or making an image, something—a moment or a set of meanings—is eternalized. A photographic image is a translation of of the thoughts and imagination of its creator into a universal language; it can be a direct or indirect means to communicate to others.
Our perception of any phenomenon, to a great extent, is based on our pre-conceived notions and pre-experienced views; we constantly refer to visual memory. As a result, our relationship to the essence and meaning of people, objects and experiences are always in flux and fleeting. Image making is an attempt to explore this process deliberately. Image makers provoke a collision of facades that are conventionally recognized as separate. This friction allows us to see the world from a new angle, to explore new meanings, questions and create advanced contexts for critical thinking.
I am interested in the images in which the choices of connotation prevail over denotation in the picture. I am fascinated with images that raise questions in addition to the statements they make. Questions lead to further discussion and often to uncertainty, discourse that fits into multiple contexts and answers that can reflect diverse points of views. All these perspectives are subject to change over time as culture is being resurfaced everyday. Consequently, images themselves change over time, because they are manifestations of culture.
In recent months, I have found image-making to be a kind of therapy, a way to exhaust my psychological discomforts, a different approach to analyze my frustrations, dissatisfaction and anger with the world I am part of. By addressing these issues in my practice, it is more likely for me to engage with them more thoroughly. Because of my obsession with photography, I often prefer communication through images rather than words. Not everything can be expressed best by words.