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Artist’s statement

Photography is an opportunity for me to find things people ignore and bring them forward to make people reconsider their ideas. I am not interested in extraordinary things since they are always covered and receive more attention due to mankind’s unending interest in celebrities, fame, sensation… I try to concentrate more on ordinary things and catch possible latent extraordinariness in regularity. It is easy to take ordinary photos of extraordinary things but more challenging to take extraordinary photos of ordinary things. It is possible to say I tend to concentrate on extracting beauty out of ordinary. I attempt to defamiliarize ordinariness, render it ambiguous by alienating it from its familiar context and finally make people to ‘see it afresh.’

Photography records the surface information, where one can only depict the exterior features of objects (color, texture, shape, etc.) and the resulting visual representation cannot incorporate the internal condition / content / soul. I also aim to make photos that carry the many traces of time, multiple dimensions of space and finally create photos usually invisible to the naked eye. The basic idea is to form a personal visual accumulation through time and space that supposedly give us more insight / clues than a single photograph. I see multi-layered photography / chronophotography as gates to augmented perception, surreal encounters, creation of new worlds and self appropriation; since I do not believe in ultimate objectivity in photography and “Truth” with the capital T. Personal delineations of temporary yet experienced smaller realities are truer than imposed institutional “realities.” The key is reflecting the inner world with a genuine, idiosyncratic way: “Do not follow the suggested agenda / trend, do your own thing…”

The combination of digital means and artistic practice is of prime importance. The computational dimension is indispensable and allows me to visualize anything that I perceive / conceive. The technological advances in imaging and its post-processing changed the way I observe, imagine, create and share my artworks.

Appreciated keywords: Hybrid, mediation, anonymous, praxis, perception, plurality, unexpected, evolution, as is, as such, deconstruct, odd rhythm, indeterminism, absorption, alternative, shift, adaptation, genuine, defamiliarization…

Short bio

Murat Germen is an artist using photography as an expression / research tool. He has an MArch degree from Massachusetts Institute of Technology, where he went as a Fulbright scholar and received AIA Henry Adams Gold Medal for academic excellence. Works as a professor of art, photography and new media at Sabanci University in Istanbul. Has submitted work for distinguished institutions such as; Istanbul Modern, Young & Rubicam, McCann Erickson, The Designory, Norman Foster & Partners, DDB, Rafineri, Swissôtel, Boyner, Aga Khan Awards, Siemens, Koc Holding, Yapi Kredi Culture & Art Publishers, Istanbul Foundation for Culture & Arts, Economic & Social History Foundation of Turkey, etc. Having many articles / photo series published on architecture / photography / art / new media at various magazines / books; he has been accepted to several symposia / conferences like SIGGRAPH, ISEA, Mutamorphosis, Towards a Science of Consciousness, CAe, CAC2, EVA-London, eCAADe, ASCAAD to lecture on pertinent topics. Has opened over forty inter/national (Turkey, USA, Italy, Germany, UK, Mexico, Portugal, Uzbekistan, Greece, Japan, Russia, Iran, India, France, Canada, Bahrain) exhibitions. The artist and his artistic work is represented by C.A.M. Gallery in Turkey, ARTITLED! Contemporary Art in the Netherlands-Belgium and Rosier Gallery in San Francisco. More than 40 editions of the artist’s several artworks are in personal collections of eminent art collectors in Turkey, in addition to a few that are in Istanbul Modern’s and  Proje4L Elgiz Museum of Contemporary Art (Istanbul) collections. Some of artist’s works are sold at Sotheby’s, Christie’s and national auctions (
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