A ballet dancer in a grey coat and pointe shoes stands still amidst a bustling urban street scene in black and white.

In Haste

The Watching Body as Spectacle

Exhibitions: Pinelo Art Gallery, Istanbul (2014) · Abraham Gumbel Saal, Heilbronn (2019)

Ayaküstü (In Haste) was photographed over four years across Istanbul. Ballerinas appear without warning in the metro, on ferries, in the backstreets of Galata, and along İstiklal Avenue in Taksim. Ballet, a Western performing art usually kept inside formal stages, meets the daily rush of the street. City and stage, passerby and spectator overlap.

A theatre tells its audience where to look and when: the lights go down, the curtain rises, and attention is agreed in advance. The street gives no instruction. Each passerby decides alone, in a second or two, whether to stop or keep walking, and that private decision is what the camera records.

Once the street becomes the stage, the roles inside the frame reverse. The public becomes the true performer of the image. Astonishment, curiosity, hesitation, and nonchalance cross the faces and postures of the Istanbul crowd as they witness the dancers. Set against historic neighbourhoods and transit hubs, the dancers' composure creates a sharp distance from the street. The watching body turns into the spectacle itself while the crowd around it keeps the pace of the city.

Carriages, piers, and platforms are built for passing through. People share them for a few minutes and have learned not to look at one another. A ballerina standing at a turnstile or on a ferry deck breaks that quiet agreement. The dance holds the gesture for a few seconds; the photograph measures how long the city looks back before moving on.

The project was featured in the Turkish daily Radikal under the headline "Kentte bale zarafeti" ("Ballet's grace in the city").

80 × 120 cm · Edition of 5 + 1 AP · Archival pigment print (giclée) In Haste, Heilbronn, 2019 Radikal newspaper feature 'Kentte bale zarafeti' on In Haste