Yuvacan Atmaca, “Flowing Bonds”, installation, tracing paper, glue, paint, 2022
Until 500 million years ago the earth, an accumulation of material-energy as a soft tissue contingency, gave birth to the basic fabric of life through a mineralization process. Human skeleton is one of the many bifurcations that this process triggered. Creating a different mineralization process within this interactive energy flow, human population has built urban structures as an outer skeleton (De Landa, M., 1997, A Thousand Years of Nonlinear History, p: 25).
Humans, placing their own vitality and their own world at the center of both the world and vitality, are at the forefront of many crises including the ones of this century, by creating the greatest form of all, the city. The idea that these crisis are not actually related to the vitality and the world but to a human-centered world, constitutes the departing point of this work.
In this context, this work poses its question through a ruin that emerged as a result of a landslide, which is also related to climate change, in Mardin, a city whose history stands out with written meanings and built forms. This ruin is at the threshold where, the one that has gained form through human hand goes back to the world of rocks and stones, to the ambiguous darkness of the one that has not yet come to life, and which makes one think the totality of the earth’s material-energy flow. Stones in the ruin have become independent from the form they were placed in, due to the other energy flows to which they are connected. Liberated from form and meaning, and turned into an image space these stones and the formless (spineless) and temporary emergence built from tracing paper and glue both stand at this threshold. This work is not produced in order to give meaning to stone, or to beautify and give form to the ruin but to understand the stone.