Raziyye
Turkey
Where do you locate yourself in relation to the systems you work with?
I position myself neither inside nor outside the systems I work with, but in constant negotiation with them.
Artificial intelligence, generative software, and algorithmic tools are not neutral instruments in my practice; they are environments that shape decisions, behaviors, and aesthetics. I work from within these systems while continuously questioning their defaults, limits, and inherited biases.
My position is informed by cultural memory and material history. I approach digital systems with an awareness of what they abstract, erase, or transform. Rather than treating technology as a site of efficiency or automation, I engage it as a space of friction where historical knowledge, embodied craft, and computational logic intersect and sometimes resist one another.
Where are you heading, and what is pulling you there?
My practice moves along a vector that connects cultural heritage with computational processes. I am drawn toward translating material histories such as textiles, patterns, and woven structures—into algorithmic behaviors. What pulls me forward is the question of how data can carry memory, and how motion, transformation, and instability can become forms of historical narration.
I follow systems when they allow complexity and emergence, and resist them when they simplify or aestheticize without context. My direction is guided by generative processes that remain open-ended: systems that do not resolve into a final image, but continue to unfold, fragment, and reorganize over time.
How would you describe the space your practice is currently unfolding in?
My practice unfolds in a hybrid space where computational environments meet cultural archives. This space is neither fully virtual nor strictly historical; it is a transitional field shaped by datasets, algorithms, and visual systems that reconfigure inherited forms.
Within this space, images behave less like representations and more like processes. Surfaces dissolve into points, lines, and vertical fields of motion. Patterns are no longer fixed compositions but dynamic systems responding to density, intensity, and temporal change. The space my work inhabits is one of deformation and reassembly where cultural forms are continuously rewritten through algorithmic logic, without losing their origin or weight.
