In my work, I deal with the multi-layerd, complex fabric of life, searching and tracing through the thick of things and places that exist simultaneously but not necessarely belonging together. My materials, already out of context when I find them, readily lend themselves to my work and I simply to point out and accentuate their bizar previous co-existence. In my treatment of them, which is not necessearly physical, they are stripped of everything but their art concept even when they are not actualized in a given work. Thus, I always have more art than I display. And, the spectator should welcome the ambivelence.
Thus, I always have more art than I display. And, the spectator should welcome the ambivelence."Resonance" (Pierce), describing how individuals act according to readily given codes,
in relation to "cultivation theory”(Gerbner) in communication offfers me new approaches on this. The secondary level differentiation in newness here does not create “double dose” but an unfabricated situation could be called “double resonance”. It is not the inflation of images offering nothing to see or a production mode with no trace implied by Baudrillard; but it is the last stage in problematic of “true” experience and in concept of becoming itself implied by Deluze with “time crystal”. That true object, true view recalls similar images is not enough, either. It can be said that appearance of unique image should connect to what is real by following the same line every term, image as view, does. In this twinning, as I put it, “vision” come to be in the “double resonance”. In other words, time divided itself into two ranges; two presents inclining to future and past. I aim to create an opportunity for the audience to live their own experience by pointing out reversible narrations with various possible stories emerged when different experiences come together.