It is often to see a daily object in the middle of the composition in Cansu Korkmaz’s pictures. What stands out here is the aesthetic value the daily and insignificant forms add to the photograph. The clutter of forms is deliberately chosen to express the systematic chaos of the city she sees in with a fine aesthetic skill.
Cansu’s pictures are subjective; she expresses her own perception of city and life. What makes this perception special is the aesthetic distance she keeps between the subject and her camera.
Incompleteness is what we commonly face in Cansu’s pictures. The feeling of emptiness in the composition keeps us from a complete satisfaction. Her aim is not to show the perfect, on the contrary, she is more interested in the beauty and balance within the imperfect.
The objects captured from the world of ordinary things acquires and identity in Cansu’s photographs. She takes portraits of the objects: a stuffed mussels package, a dry branch rising from the worksite or dead flies are all portraits: in some cases spaceless, or sometimes looming unexpectedly somewhere in the city.
Cansu sees what we don’t see when we pass by on the street. Things which are “always there”, things we lost our interest and awareness on them: she focuses on the George Perec’s“infraordinary” theory. “Garip bir enerjin var” shows the ordinary situations that are specific to “weirdness” and “energy” from the streets.