<div dir="ltr"><div>Welcome to the site, Mustafa.<br><br></div>Murat<br></div><div class="gmail_extra"><br><div class="gmail_quote">On Tue, Nov 1, 2016 at 10:53 AM, Mustafa Ziyalan <span dir="ltr"><<a href="mailto:ziyalan@mindspring.com" target="_blank">ziyalan@mindspring.com</a>></span> wrote:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">----------empyre- soft-skinned space----------------------<br>
<a href="https://www.instagram.com/theredhookian/" rel="noreferrer" target="_blank">https://www.instagram.com/<wbr>theredhookian/</a><br>
<br>
I was shot at. I was in bomb explosions. That was in Turkey.
<br>
<br>
I watched "Blood of the Beasts" by Georges Franju, “Carnival of<br>
Souls"
by Herk Harvey and "Der Todesking" by Jörg Buttgereit. In Austria<br>
I saw
Hermann Nitsch’s works in blood. In Germany I saw the works of<br>
Gerhard
Richter.
<br>
<br>
In United States I saw photography of Francesca Woodman. I thought it<br>
was about (self)erasure, among other things. I watched "Decasia" by<br>
Bill Morrison. I worked with HIV+ individuals. What ultimately<br>
reminded me
of transience, disintegration, decay and mortality was 9/11.
<br>
<br>
I experienced the Salton Sea, a phenomenon I had seen in Bill Viola's<br>
videos before. I took photographs. Then there was<br>
Hurricane Sandy. I was
in Red Hook then. Cars were moving in the storm<br>
surge. I started taking photographs again, this time with my Android<br>
phone, and posting them. I wandered through places, abandoned or still<br>
inhabited, above or below
ground. I wandered through subway stations. I<br>
took in the palimpsest of grime, stains, paint and posters.
<br>
<br>
More recently I saw the works by D*Face.
<br>
<br>
I have been using software decidedly less evolved than Photoshop:<br>
Gimp
and GraphicConverter. I have been mainly going with what the image<br>
yields. I have been trying and tinkering, leaving quite a bit to chance.
<br>
<br>
<a href="https://www.instagram.com/theredhookian/" rel="noreferrer" target="_blank">https://www.instagram.com/<wbr>theredhookian/</a><br>
<br>
My images are attempts to reconstitute and move beyond things, even if<br>
they stumble and fail. I think it is important that I use a phone to<br>
take photographs. That is the closest to capturing a glimpse while<br>
moving past whatever I choose to photograph. It is unobtrusive and<br>
discreet. This is important when you are taking a photograph of a detail<br>
in an elevator or hallway in the projects, in a subway station or in a<br>
SRO hotel.<br>
<br>
What the digital camera of the phone is able to capture from what you<br>
see is where you start. You may crop the image, change its brightness<br>
and/or contrast. Details and colors change accordingly. Where do I stop?<br>
When I see something as far removed from the original as possible,<br>
still, without becoming nondescript again. There seems to be a spot<br>
between the familiar and over-processed, where I pause, I think.<br>
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