Özlem Altın’s first solo show takes place in Istanbul at the 16th Istanbul Biennial, in parallel with the artist’s participation in the 59th Venice Biennale. Hasret Altın, who has developed a photographic technique based on brought-together photographs over the past few years, achieves works by drawing the main boundaries in a series of images that surround other objects and bring them into contact with each other, with the surface texture of ink and oil. These hand-painted markings add a perverse and obvious feature to the visual mechanics of photography.
In several of his new works, many of these hands, which are essentially present in his preliminary works, reappear almost ritually, reminding the viewer of the plasticity of time. Here the tangible is felt through the acquired knowledge of a sacred relic. The subject of the speech is the abstract metaphysicality of time and its sometimes vertical, sometimes horizontal, sometimes twisted representation.
The Prayer, 2022 (Özlem Altın & The Pill)
While Özlem Altın’s shaping and animation of images resolves the border between artificiality, the arrangement of isolated images in several works with blue oil paint shares commonalities with the physical forms of language, presumably with Susan Sontag’s description of photography. Like Sontag’s themes, Altın also rewrites the photographic image as a writing system. For example, the work titled ‘Wheel or Cycle’ 2022 is rendered with the outlines of the hands in the loop and a figure to resemble writing or a hieroglyphic form. The visual language that Altın invented is hidden and sometimes revealed as a puzzle.
The Wheel or Cycle, 2022 (Özlem Altın & The Pill)
Kismet is probably another way of envisioning the resonance in the middle of concrete things. The title of Gold’s show fills her work with a supernatural notion of destiny, creating space to contemplate connectivity on a cosmic degree. The ‘Pulse’ and distress that Gold has invented, its unifying use of blue in 2022, is articulated against a corporeal red plane. Muscular, ectoplasmic threads hang and move from every image that includes plants, family members’ faces, and hands pinching or grasping the skin. Woven in the anatomical world of Gold, these images represent remnants like pain or memory, remnants of the past that reside within a body at the cellular level. From space to interior, from macro to micro, his work symbolizes the remains of knowledge emerging from image archeology.