The aesthetics of political islam is a reality to many citizens, it is scarce by production.




A piece of cinema that is aware of the male gaze, the mechanical gaze and the futuristic authoritarianism is yet to be founded around women. Combining patriarchy’s gaze with the late capitalist gaze, which serve as one on “looking at women”.




The gaze is invasive and is see -through in a case of an algorithm that is designed to identify through the masks, and the veil. The gaze of the authority is as cold as the gaze of a colonist who is visiting a country he named as “Oriental.” 




Could a surreal visual conversation around women tell what will freedom look like in a post-truth world? 



criticising each other due to the echo-chambers of information,




unshared sense of truth due to surveillance capitalism,




conversations lost due to data insights,




polarization.




the gaze started with aerial calibration targets, the earliest of digital pixels; to hit, to shoot, to destroy. To be seen is to be destroyable.




The veiled woman, who often considered as suppressed, can be the only one who is not recognized by the government in this period of time due to the complexity of facial recognition under the veil.  



8mm, drone camera, digital camera, and CCTV camera itself. I work with different cameras depending on what makes sense for the scene.


London 202x is a film in the making. The film's dystopic qualities inspired by my love of Aldous Huxley and his novels Brave New World and The Island.  

It was inspired by the lost connection between secular and conservative women are experiencing in Turkey, both sides being lost in their own echo-chambers with the information only supporting their existing world-views, yet this is a case for all around the world. The intersection between women and authoritarian technologies which started as a response to the rising political Islam in Turkey and then expanded to citizen-state/ body-city dynamics in London.

The inverted film negatives with cityscapes draw attention to the surveillance state, like a CCTV camera, with the gaze being turned back to the city from the body. Whereas the body components are always kept “positive".  


A fiction to visualize aesthetics of post- isolation, post-identity. 


The culture of the veil, what it means, the endless possibilities of creating a visual language around it, obsessed me. The more complex the conversation got, the more I was aware of the dualities within the argument of freedom around the veil, which is represented as “doubles” in my photographic work. Most importantly, I came to realize that it has the potential to create a space for a lost conversation between two different women.

I am interested in visual culture, both as a nurturer of political circumstances and as a remedy. From cinema to a digital image circulating on the Internet, I create narratives that recenter citizen-state dynamics focusing on social events. All the storytelling I create is a way of navigating the world as a sensitive human being, longing for social justice.

Recently COVID has brought increased regulations, the reintroduction of curfews, bio-tracking, facial recognition, and general heightened surveillance; everyone is polarized in binary terms. The capitalist prerogative of this technology, compounded by this period of urgency, hurts minorities and marginalized communities who live in surveillance more than others.
The question of ‘what it means to have a female body within an authoritarian state?’ finally becomes ‘what does it mean to have a female body within authoritarian technologies?’ for me and for everyone else.