My personal and individual images let themselves become the cumulative, while aiming to portray and discuss the ephemera and the transitory through delicacy and vulnerability of the human body and quotidian details. As the time passes, we are making temporal relationships with each other and constantly separating from one another. Photography itself deals with separation. My teacher, Mark Alice Durant describes family photographs as “…a minor celebration, a humble homage to the moment in which this person, this place, this thing is important, and irreplaceable. It is a momentary refutation of the inevitable dispersal of all things.”
My problem with time got bigger and more perceivable as I started to live away from home, from my parents, my girlfriend and my friends in order to pursue my academic education. The distance made the fleeting time more obvious, me more vulnerable, and my eyes more open. A familiar face that you see or memorize, a familiar touch that you feel or long for, a familiar sound that you hear or get the illusion that you heard, or a smell that takes you home: all the dichotomies are harboring in my distant living experience. Living in United States as a Turkish citizen is also difficult economically. The cost of living suddenly tripled for me just in three months due to a sudden fall in the value of the Turkish Lira. It is bringing a lot of psychological burden while shopping for groceries, having a dinner outside or while traveling whether for work or pleasure. Difficulty in earning a living with my temporary visa brings the fact that almost all of my money is coming from Turkey thanks to my family. In this manner, I need to take care of myself better as the crazy expensive health care system in the US might have miserable effects on my personal economy. Of course, this brings the habit of being more conscious about your own body, and its vulnerability. I am waiting to go back to Turkey in order to get a dental care and an eye examination.
My feelings are heading towards what T.J. Demos inscribes to Mona Hatoum's 'Measures of Distance': “…a ruptured psychogeography of fundamental ambivalence, calling up the longing for home and the embrace of elsewhere…” or “irreconcilability of strangeness and familiarity that defines the experience of living away from one’s homeland.” In this manner, I turned my camera to strangers, to friends, to family, and to myself, trying to express the simultaneity in the sore distance of displacement, longing for closeness, and the embrace of elsewhere that shape my experience, whilst also trying to underline the fleeting time through delicacy of the human body.
 Mark Alice Durant, 27 Contexts: The Anecdotal Context in Photography. (2016). 257
 T.J. Demos, The Migrant Image: The Art and Politics of Documentary during Global Crisis. 2013. 4-6