The installation integrates dynamic light and auditory elements. Both the chair and the accompanying black screen are illuminated via projection, with multiple sequences of computer-generated animations employing projection mapping being continuously looped. This technical approach alters the viewer's perception of an otherwise ordinary object, demonstrating the transformative power of digital technology in reshaping visual interpretation.
Credits:
Visual Design: Can Buyukberber
Audio Design: Gokhan Ciftci
Documentation: Barıs Ari
Academic Supervision: Can Pekdemir
Production: Aykut Durmayaz, Gokhan Emir
Audio Design: Gokhan Ciftci
Documentation: Barıs Ari
Academic Supervision: Can Pekdemir
Production: Aykut Durmayaz, Gokhan Emir
"Chairoma" delved into the interplay between optical illusions, shadow manipulation, and the digital distortions centered around the static form of a chair. Drawing conceptual parallels with Joseph Kosuth's seminal "One and Three Chairs" from 1965, which interrogated the very nature of representation, Buyukberber's work similarly challenges perceptions of everyday objects.
However, while Kosuth juxtaposed the tangible, the visual, and the linguistic to dissect representation, "Chairoma" employs projection technology to dissect and redefine. As an early exploration in Buyukberber's body of work, it foreshadows the evolution of projection mapping in contemporary art, while also nodding to foundational discussions on object interpretation in art history.
Joseph Kosuth. One and Three Chairs. 1965