Crave
Desire, unfiltered. The photography series Crave documents bodily and emotional hunger. It doesn’t whisper; it pulses. In these images, longing is painted across the body, each frame trembling between heat and need.
The series is built around three modes of erotic tension: fragmented fetish, performed seduction, and ritual intimacy. Yıldırım’s photographs move between these states, showing how desire acts upon skin, symbols, and the stage.
Many images show the body not as a whole, but as a part: a curve, a fold, a close-up of tension. Flesh becomes a surface, a site, a sculpture. Here, the erotic is dissected into a visual language where soft porn becomes soft form. Desire is anatomical, nearly abstract, reduced to color and contour. A lip, a heel, the bend of a back—it is fetish without objectification.
In other scenes, desire is choreographed. In boxing rings and on dance poles, women perform power and subvert the gaze. They are not passive subjects but active agents—posing, punching, pulling. The camera is not a mere observer; it is inside the act, part of the performance. The photographs draw their energy from this spectacle and seduction.
Finally, there are the rituals of intimacy. Shared beds, red sofas, and bathroom floors become emotional landscapes, not just backdrops. In these private spaces, cigarettes burn slowly and bodies sink into light. The scenes are caught between lust and loneliness, pulsing with both anticipation and aftermath. Pleasure is here, but so is distance.
The project shows the influence of Wong Kar-wai’s cinematic atmosphere, the raw images of Araki, and the sharp erotics of Newton. Yet Yıldırım avoids imitation. He transforms these references into a new visual style where eroticism is analytical, not just aesthetic, and voyeurism is turned inside out.
Crave is an ongoing project, and the archive continues to grow. For collectors and viewers, the series presents more than erotic pictures; it is an invitation to witness the intensity and ambivalence of longing—unfiltered, staged, and beautifully strange.