{"id":1123,"date":"2025-03-29T16:14:24","date_gmt":"2025-03-29T13:14:24","guid":{"rendered":"https:\/\/burakbulut.org\/?page_id=1123"},"modified":"2026-04-02T23:47:46","modified_gmt":"2026-04-02T21:47:46","slug":"%e3%83%a2%e3%83%bc%e3%82%bf%e3%82%b9","status":"publish","type":"page","link":"https:\/\/burakbulut.org\/ja\/motus\/","title":{"rendered":"\u30e2\u30fc\u30c8\u30b9"},"content":{"rendered":"

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Motus<\/h1>\n

The Body in Relation to Movement<\/h3>\n
\n

Not frozen moments, but moving echoes. Motus captures the body in flux\u2014between gesture and memory, rhythm and breath.<\/p>\n<\/blockquote>\n

Motus<\/em> is an umbrella project exploring the relationship between the body and movement. Not movement as athletic performance or choreographed spectacle, but movement as emotional residue\u2014the tension held in a shoulder, the arc of a breath, the echo left behind after a gesture has passed. The project spans multiple modes, each with its own visual language, methodology, and context, ranging from studio work to street encounters, from long-exposure blur to frozen instants of improvisation.<\/p>\n

In Flux<\/em>, the body exists in states of transition and indeterminacy. Some images use long exposures to render flesh in soft blur\u2014skin and hair dissolving into warm gradients against darkness, the body accumulating rather than freezing. Others are sharp but no less fluid: figures interact with white fabric or paper that folds, unfurls, and shapes itself around them, creating forms that are part origami, part wing, part breath made visible. In both modes, the boundary between body and material, between stillness and motion, remains deliberately unstable. The reference is painterly\u2014Gerhard Richter’s photo-paintings, where certainty dissolves into atmosphere\u2014but also sculptural, recalling the draped figures of Hellenistic marble where cloth and flesh become indistinguishable.<\/p>\n

Stills<\/em>, developed in collaboration with art director Meryem Ayd\u0131n, introduces a different methodology. Five contemporary dancers were shown a series of everyday objects\u2014a mirror, a suspended fish, a sponge, roses, a crumpled paper\u2014and asked to respond through improvised movement, not by imitating the object’s form but by embodying the feeling it evoked. The resulting photographs are presented as diptychs: Ayd\u0131n’s object photographs paired with Y\u0131ld\u0131r\u0131m’s dancer images. Here, stillness is not the absence of movement but its crystallisation\u2014the instant where impulse becomes form.<\/p>\n

In Haste \/ Ayak\u00fcst\u00fc<\/em> takes the project into the street. Over four years, ballerinas appeared spontaneously in Istanbul’s urban fabric\u2014stepping from traditional stages into subways, alleys, cafes, and historical squares. The focus, however, is not on the dancers themselves but on the expressions of the city’s residents who witness these extraordinary moments: astonishment, curiosity, nonchalance. The mirror held up to the city finds its meaning in the faces of passersby. The project was exhibited in Istanbul in 2014 and at the Volksbank Heilbronn in Germany in 2019, and continues in Berlin’s streets. With their elegance set against the metropolis’s ever-transforming places, the ballerinas create an intentional distance between performer and pedestrian\u2014expressing alienation while reminding us of the transient soul of urban life.<\/p>\n

Across all modes, Motus<\/em> asks the same question: what does the body know that the mind has not yet named? \u00c9tienne-Jules Marey’s chronophotographs decomposed movement into sequential phases; Eadweard Muybridge froze the galloping horse. Motus<\/em> takes the opposite approach\u2014not analysis but synthesis, not separation but merge. Whether the shutter stays open to accumulate blur or snaps shut to capture a single breath, the project treats motion not as action to be documented but as something felt in the body before it reaches the mind.<\/p>\n

The project is ongoing, with new modes in development. Selected works are available as limited edition archival prints through Artsper, Saatchi Art, and Artmajeur.<\/p>\n<\/div>

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In Haste<\/a><\/span><\/p><\/h4><\/div>

\"A<\/a><\/span><\/div><\/div><\/div>

Stills<\/a><\/span><\/p><\/h4><\/div>

<\/a><\/span><\/div><\/div><\/div>
<\/div><\/div><\/div><\/div>

FLUX<\/h3><\/div>
\"\"<\/a><\/div><\/div>
\"\"<\/a><\/div><\/div>
\"\"<\/a><\/div><\/div>
<\/div>
\"\"<\/a><\/div><\/div>
\"\"<\/a><\/div><\/div>
\"A<\/a><\/div><\/div>
<\/div>
\"Black<\/a><\/div><\/div>
\"Abstract<\/a><\/div><\/div>
\"A<\/a><\/div><\/div>
<\/div>
\"Abstract<\/a><\/div><\/div>
\"Softly<\/a><\/div><\/div>
\"Blurred<\/a><\/div><\/div>
<\/div>
\"Soft-focus<\/a><\/div><\/div>
\"Abstract<\/a><\/div><\/div>
\"Soft,<\/a><\/div><\/div>
<\/div>
\"Soft<\/a><\/div><\/div>
\"Softly<\/a><\/div><\/div>
\"Silhouetted<\/a><\/div><\/div>
<\/div>
\"Silhouette<\/a><\/div><\/div>
\"A<\/a><\/div><\/div>
\"A<\/a><\/div><\/div>
<\/div>
\"A<\/a><\/div><\/div>
\"Nude<\/a><\/div><\/div>
\"Bare<\/a><\/div><\/div>
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\"Blurred<\/a><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>

All Projects \/ Exhibitions<\/strong><\/h3><\/h3><\/div>
<\/div><\/div><\/div><\/div>

UnNude<\/a><\/span><\/p><\/h4><\/div>

\"Silhouette<\/a><\/span><\/div>
\n

Not nude, but reimagined. In UnNude, flesh becomes form, and desire fades into geometry.<\/span><\/a><\/p>\n<\/blockquote>\n<\/div><\/div><\/div>

Niche<\/span><\/a><\/p><\/h4><\/div>

\"A<\/a><\/span><\/div>
\n

Niche is a space of tender withdrawal\u2014where silence echoes in fabric, corners, and breath.<\/span><\/a><\/p>\n<\/blockquote>\n<\/div><\/div><\/div>

Ecotone<\/a><\/span><\/p><\/h4><\/div>

\"Naked<\/a><\/span><\/div>
\n

Body becomes part of a living landscape\u2014blurring the lines between skin, soil, and sunlight.\u00a0<\/span><\/a><\/p>\n<\/blockquote>\n<\/div><\/div><\/div>

Elsewhere<\/a><\/span><\/p><\/h4><\/div>

\"A<\/a><\/span><\/div>
\n

Elsewhere follows the body through city shadows\u2014unnoticed, unstilled, unreal.<\/span><\/a><\/p>\n<\/blockquote>\n<\/div><\/div><\/div>

Antemortem<\/a><\/span><\/p><\/h4><\/div>

\"A<\/a><\/span><\/div>
\n

A body caught between memory and erasure. Antemortem traces the soft residue of life before it slips into silence.<\/span><\/a><\/p>\n<\/blockquote>\n<\/div><\/div><\/div>

Crave<\/a><\/span><\/p><\/h4><\/div>

\"Silhouetted<\/a><\/span><\/div>
\n

Desire speaks in color. Crave paints the body with longing, each image trembling between heat and hunger.<\/span><\/a><\/p>\n<\/blockquote>\n<\/div><\/div><\/div>

Motus<\/a><\/span><\/p><\/h4><\/div>

\"A<\/a><\/span><\/div>
\n

Not frozen moments, but echoes in motion. Motus captures the body in flux\u2014between gesture, memory, and breath.<\/span><\/a><\/p>\n<\/blockquote>\n<\/div><\/div><\/div>

Lucida<\/a><\/span><\/p><\/h4><\/div>

\"Portrait<\/a><\/span><\/div>
\n

Under blacklight, the body becomes flare\u2014a glow, an echo, a mirage. Lucida seeks the threshold where form dissolves.<\/span><\/a><\/p>\n<\/blockquote>\n<\/div><\/div><\/div>

Chimera<\/a><\/span><\/p><\/h4><\/div>

\"Monochrome<\/a><\/span><\/div>
\n

Mirrored, fractured, reformed. Chimera turns the body into illusion, where flesh bends under the gaze.<\/span><\/a><\/p>\n<\/blockquote>\n<\/div><\/div><\/div>

Melancholia<\/a><\/span><\/p><\/h4><\/div>

\"A<\/a><\/span><\/div>
\n

Melancholia doesn\u2019t shout\u2014it lingers. These images carry silence, like a breath held too long.<\/span><\/a><\/p>\n<\/blockquote>\n<\/div><\/div><\/div><\/div><\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-1123","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/burakbulut.org\/ja\/wp-json\/wp\/v2\/pages\/1123","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/burakbulut.org\/ja\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/burakbulut.org\/ja\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/burakbulut.org\/ja\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/burakbulut.org\/ja\/wp-json\/wp\/v2\/comments?post=1123"}],"version-history":[{"count":12,"href":"https:\/\/burakbulut.org\/ja\/wp-json\/wp\/v2\/pages\/1123\/revisions"}],"predecessor-version":[{"id":1964,"href":"https:\/\/burakbulut.org\/ja\/wp-json\/wp\/v2\/pages\/1123\/revisions\/1964"}],"wp:attachment":[{"href":"https:\/\/burakbulut.org\/ja\/wp-json\/wp\/v2\/media?parent=1123"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}