the idea of devising a portable home/land, by scaling down the map of Turkey to fit my pocket, so that it could be carried, unpacked, pitched anywhere.	Are you Scotland? Yes I’m Scotland. You need to get higher.	… Esra be Ireland So Ireland is... Deniz, if you spread your fingers really wide…‘cause it goes really wide. Down especially towards Cornwall. That’s it, that’s it. …
The shadow of our hands cast on the wall restlessly moves until we are satisfied with the image cast on the wall. Like the map, the shadow is a two-dimensional projection of a three-dimensional entity and thus, the shadow maps become the projection of the habitual knowledge guiding our hands. The video recording helps to capture this fugitive state of the performance, the continuously transforming maps on the wall.
video stills. perde		video stills. perde
		with the visual elements on my identity cards that provide us clues about how the official discourse imagines its subjects, I set to compose a series of landscapes that refer us back again to the national borders where this identity is imagined to be anchored into. I worked with the character the national identity unravelled on the surfaces of the passports, identity cards, took these visual elements that compose my world and then recomposed another scene by rearranging them.
video stills. perde