Niche
The Body at Rest
Niche is a space of quiet withdrawal, where silence is felt in fabric, corners, and breath.
A woman leans into a curtain, curls around a chair, or rests in the light between two rooms. Niche pictures the tactile relationship between the body and its surroundings—not as performance but as presence. These are the private theatres of everyday solitude, where a window frame becomes a proscenium and a fold of bedding becomes a landscape.
The series takes its name literally. Figures occupy architectural recesses: the hollow of an ornate wooden cabinet, the depth of a window embrasure, the shadow beneath a skylight. They fold themselves into corners as if the room had made space for them, or as if they were trying to disappear into its geometry. The body does not dominate the interior; it negotiates with it, finding the places where it can rest.
Domestic objects accumulate meaning. Heavy curtains in burgundy and brown frame figures like stage drapes; velvet armchairs hold bodies the way hands hold faces. Cats appear throughout—curled nearby, walking past, watching—silent witnesses to private hours. On the walls, art answers back: Alphonse Mucha’s sinuous figures, classical drawings of draped women, photographs of nudes. These images-within-images create a quiet dialogue, a mise en abyme where the photographed body echoes the bodies already hanging in the room.
The work recalls Vermeer’s interiors, where light enters through leaded windows and figures exist in a suspension between action and stillness. But Yıldırım’s spaces are more worn, more lived-in—Berlin apartments with radiators and winter trees visible through glass, Italian villas with cracked plaster, anonymous hotel rooms beneath Art Nouveau headboards. The vulnerability of Nan Goldin’s domestic photographs is present here too, though softer, less confessional. These are not documents of crisis but records of the ordinary intimacy between a person and the rooms they inhabit.
Natural light shapes everything. Morning sun burns out window details while leaving figures in silhouette; late afternoon gilds skin and wood alike. Some images are rendered in black-and-white, emphasizing form and shadow over warmth. In others, colour is muted to the palette of old textiles: cream, ochre, the deep red of curtain fabric.
Niche reveals the interiors of both spaces and emotions. Time is deliberately slowed. Bodies cling to table edges as if holding a thought; others dissolve into the folds of bedding. The series is ongoing, developed over more than a decade across private homes and borrowed rooms. Selected works are available as limited edition archival prints through Artsper, Saatchi Art, and Artmajeur.
Burak’s most recent works convey portions of female body parts with extreme high contrast and in fusion with texture, however his works showing full female figures in interiors convey a sense of psychological and theatrical strategy towards understanding the relationship between figures and space.
Aedra Fineart – Michael Hanna. Full Article: https://www.pointpleasantpublishing.net/single-post/burak-bulut-yildirim










































