Homeland by Serkan Taycan (April 28, 2010) 
(21 votes, average: 3.67 out of 5)
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Categories / Landscape Photography / Portraiture / / Click here to open comments section, click again when done to close / 1 Comment
Introduction by Sinem Yoruk
In a world full of codes, there is a real sense of need to somehow connect to something, anything, in this somewhat cold, mechanical, digitalized place that we live in. We ignore our relationship to nature, take it for granted and feel lost when cut off from it. Though nature, in merciless ways reminds us, not to push boundaries. Even with the least threat it may impose, we could all be grounded in Europe for hours, days and even weeks with just the tip of a volcano. We seem to loose touch with our inner selves and struggle to engage with others. Yet, we are desperate to find a connection between ourselves and others, to bond through similar backgrounds, memories and ideology. In my selection of young artists, we can feel the engagement of everyday life thoroughly, whether it be the effects of the financial crisis, social restraint or dependency on technological evolution. The shared vision of these artists is based on the actual impact of these issues on our lives.
This week is curated by Sinem Yoruk, the director and owner of Elipsis Gallery, she is a specialist in contemporary photography, photographic and fine art printing.
Next / A Fleeting Relationship Between Complete Strangers / Previous / An Instinct Embedded Deep Inside Of Me /
Our poll "A photo essay always needs a great written story" closed. 267 people voted, 28% agrees, 72% disagrees. 233 people answered our follow-up question "Are you a photographer?" 82% indicated they are, 18% said no. Initially, negative answers to question #1 were almost 100% as was the pecentage of photographers among respondants. Then, when the level of non-photographers started to rise, the percentage of people indicating good text is always essential started to rise too. This seems to indicate that non-photographers think that adding good text to your photo essays is essential. In my opinion: if you want non-photographers to dig your work, you know what to do...
As a child I grew up in different rural places of Turkey, because my father’s job required us to move often. Each new place meant a new world to me. Being a child, It was not hard to adapt to these new locations. Later on I moved to Istanbul for my higher education. My youthful excitement and curiosity replaced my childish enthusiasm and helped me adapt to the big city. Although this adaptation wasn’t as easy as it used to be in my childhood days, I managed to build a new life. During my university years, the possibility to travel and break outside the mold of my youth became a new reality.
However as my horizons expanded, my understanding of a ‘homeland’ grew more complicated and fragile. A deep feeling surged in me: I began to sense that with each movement my sense of ‘belonging’ had become more and more vague. The foundation I stood upon had become a slippery surface. While this volatility of belonging gave me a feeling of freedom and independence it also made me wonder about whether belonging to a certain place and time is possible for me.
With the passage of time I have, of course, changed a lot. But my homeland of Anatolia, which I left behind, has also changed. During my recent travels in Anatolia, I have encountered many images, situations, and people that aroused both feelings of intimate familiarity and great distance in me. These contradictory feelings have forced me to dwell on the issue of ‘belonging’. From this, new questions about “Homeland” have emerged.
Serkan Taycan (1978) lives and works in Istanbul, Turkey.
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