Nermin Ülker

Ülker, who was raised in an environment where the concept of the house was seen as a shelter protecting one from the dangers of the exterior world and becomes taboo as the symbol of the communal order, tradition, security and harmony, gives a binary character to the concept of the house in the exhibition and describes it as a place of overlaps, apart from being a shelter.In her works, the concepts of inside and outside do not have to be subjected to the physical limits of space, nor does it have to be fixed in specific coordinates. For her, the house is not a limited and protected area. It is a place where inside and outside are established again in line with experience, memory and meaning. Therefore, the audience meets a permeable, liquid space concept where coordinates can change place depending on experience and context in "Hane," thus the opposite of the traditional perspective of space whose borders and coordinates have been predetermined. In this changing sense of space, inside and outside are experienced as areas that constantly leak into each other and whose meanings and coordinates are constantly changing according to their context. In the exhibition, the artist brings together two series derived from each other in an intellectual and sensory sense. She describes windows as insistent forms that open or close the space for viewing and determine the limits of view with their materials and shapes in the series "Pencere" ("Window"). The field of view is framed by the artist and each frame points to a certain point of view, a missing image. According to the movement and the angle of the audience, the image is constantly changing and flowing. The view place represents the audience while the window symbolizes the limited freedom and privacy that the audience has in their world in the exhibition; the artist refers to how the audience's perspective can change depending on cultural identity and personal memory.