I work across time-based and fragmentary media, including photography, video, and installation. I generally construct my works by drawing on the speculative possibilities offered by exhibitions, books, and archival accumulation. At the core of my practice is an investigation of urban space through destruction and debris, attentive to how contemporary infrastructural systems and mechanisms of technological control shape the spatial and social fabric. Through this investigation, I seek to critically understand the tension between the disadvantages produced by twenty-first-century conditions and the institutional responses developed in reaction to them.

I approach urban space not as a fixed, given, and complete structure, but as a temporary configuration subject to continual reorganization. I regard photographic production not as a symbolic apparatus of representation through which images are passively transmitted, but as an active laboratory practice that reconfigures relations between time and space through methods such as copying, reproduction, and repetition. Within this framework, I investigate the potential of individual and collective memory to produce alternative narratives through the visual arts in social contexts shaped by processes of destruction.

The photographic series New Normal (2014–Present) serves as the methodological basis for my practice of walking and witnessing. It is an archival study that documents construction sites, demolition zones, waste materials, and peripheral spaces in Istanbul, Izmir, and Eskişehir. This work approaches the city not as a singular narrative but as a process of repeated observation. My works Mecidiyeköy (2014) and Illusion of Safety (2014) extend this orientation through different analyses of urban form. These works focus on public space and the fragmented surfaces of the city.

Çamdibi Project (2014–2015) presents an autoethnographic approach that concentrates my urban research practice on a single neighborhood. It traces the tension between collective memory and spatial erasure, transforming this research into an archival structure through the book form. Çamdibi Institute for Standardization (2018) translates the same practice into an installation. The work uses a temporary aluminum structure that reflects the neighborhood's fragility.

Heat-Flux: Bayrampaşa (2018–2020) uses thermal imaging to map heat accumulations and energy flows associated with the rhythms of labor. This project investigates transformations that often remain invisible to the naked eye. With The Last 148 Days (2020–2021), this focus shifts toward video. Consisting of 296 photographs, the work records the recurring nature of crisis and urban decay in the post-COVID-19 period. Metro (2021), in turn, directs attention to Istanbul's underground infrastructure, interpreting the metro as a site of suspended time, automated movement, surveillance, and bodily control.

Other works extend these questions toward technological mediation and speculative systems. Observations (2020), Kernel Panic (2019), Telepresence Operator (2017), Interstellar Cartography (2016), and New Memory (2015) examine remote sensing, control, and disorientation. Continuum (2015), Dyslexic (2015), Redactor (2012), and I Am Not Walking the Same Way as You. (2011) form an early foundation for these concerns. These works treat image, text, movement, and spatial perception as unstable systems. Is It a Manifesto? I Am Not Sure! (2021) and Manifesto for user8371979238129771892 (2018) question speculative possibilities through the manifesto form and textual fragmentation.

Calculations: Minimum–Maximum (2023–Present) keeps my interest in time and accumulation active within a practical context. This work uses digital stacking and superimposition techniques to combine multiple images into a single composition. While approaching photography as a field of measurement, repetition, and speculation, the work opens itself toward experimental film and alternative modes of display.

My book works, including [—]: Untitled Black Book (2016) and Çamdibi Project, constitute a central part of my practice. These books result from the organization of images through sequence, rhythm, indexing, and accumulation. In my works, photographs are not used as illustrations. Rather, they function as research tools that render social, political, infrastructural, and technological forces spatially legible. The city emerges as a subject, a laboratory, an archive, and a system. This relationship continues to occupy a central position in the way I construct images and sequences.