In her works of photography and video, Aslı Narin throws a look beyond the soil, water and air. She investigates our position in the world, through placing her camera within and around the nature. As she did in her previous show Spin that took place in Kasa Gallery in Istanbul, Narin continues presenting the journey of the individual discovering him/herself within the nature.
Narin looks closer to the transformations and movements peculiar to nature in order to understand the dance of the individual with the society. In her photographs, the nature becomes a map for the unpredictable tides of our personalities. She suddenly directs her camera to birds, leaves and waves, as if to try to catch them by surprise. In her photographs in black and white, she does not only look for some hints implying our inner nature, but she also attempts to reveal patterns and latent forces that keep us running.
Narin’s exhibition welcomes the visitor with Movement and Stagnation, the Highest Form of Ecstasy. Borrowing its title from a sentence in the Nomad’s Hotel by Cees Nooteboom, the photograph records the reflection of this sentence written in Turkish by Narin’s handwriting upon flowing water. This very sentence by Nooteboom, one of the prominent novelists of Modern European Literature, also indicates the starting point of Narin’s show.The subject of the exhibition is a wanderer in search for the answers to the numerous questions in his/her mind…
Millions of Pieces, the only other photograph that does not belong to a series
in Flow, indicates the fact that nature will only respond with numerous new questions to the already existing ones in the wanderer’s mind. The figures of birds that fly around, that seem to exist on different levels and their reflections indistinguishable from their original images imply the endlessness and the ephemerality of both, the questions in the wanderer’s mind and the responds by the nature.
Inlands, where Narin catches the mist of the plateaus of Northern Turkey, presents a sublimity that sooth the mind exhausted by unanswered questions. The tired individual of the late Modernity now finds embracement within the fog rather than unease and approaches the rugged mountains and the steep paths as already concurred territories rather than an exotic unknown. Think of the Wind, the other series in Flow, is composed of photographs of hands holding ribbons and close-up shots of bodies of trees. As opposed to the case in Inlands, here the eye behind the camera aims to have a closer look to the objects and hence to calm down through analyzing them. Yet, the same eye is also willing to surrender to the magic of the same objects.
This very submission is crucial as it is shown in Tide, the video by Narin. In Tide, we see Narin herself taking a peaceful sleep despite the tense music and the reflections indicating the ebb and flow of the water. If not for the dreams that recall the essential flux behind the visible movements of the nature; how would the individual look unafraid into the cliffs and coves, how would he/she step in to the haze; how would he/she resist to the winds that suddenly change direction?