{"id":1123,"date":"2025-03-29T16:14:24","date_gmt":"2025-03-29T13:14:24","guid":{"rendered":"https:\/\/burakbulut.org\/?page_id=1123"},"modified":"2026-04-21T18:41:19","modified_gmt":"2026-04-21T16:41:19","slug":"%e5%8a%a8%e6%9c%ba","status":"publish","type":"page","link":"https:\/\/burakbulut.org\/zh\/motus\/","title":{"rendered":"Motus"},"content":{"rendered":"

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Motus<\/h1>\n

The Body as Duration<\/p>\n

Not the frozen instant, but what a body leaves behind when it moves.<\/p>\n\n<\/header>

Motus<\/em> works against photography's oldest promise \u2014 that it stops time. Using long exposures, intentional camera movement, and controlled studio light, the series records the body not as a frozen moment but as an accumulation: a gesture that starts in one position and ends in another, with everything in between still present in the frame.\n\nThe reference is historical. In the 1880s, \u00c9tienne-Jules Marey photographed human and animal movement through chronophotography \u2014 multiple exposures on a single plate, producing images in which a figure could be seen walking, running, falling all at once. Eadweard Muybridge used the same period to break motion into discrete frames. Motus<\/em> inherits their curiosity about what photography can reveal about movement, but reverses their method: instead of dissecting motion into stills, it compresses motion into a single durational exposure. The gesture stays whole; only its sharpness dissolves.\n\nThe series also engages with more recent work. Hiroshi Sugimoto's long-exposure seascapes and theatre interiors demonstrated that time, not light, could be the real subject of a photograph. Idris Khan's superimposed repetitions of canonical images showed that accumulation itself can carry emotional weight. Motus<\/em> sits in that conversation, but its subject is biological rather than architectural: the body's specific rhythm \u2014 how long it takes to turn, how weight shifts through a step, how a gesture decays.\n\nEach image is made in-camera. No layers are combined in post-production; the blur, the multiplication, the trailing light are captured in a single exposure. This constraint matters. It means the photograph is not an illustration of movement but a recording of it \u2014 a physical trace, like a brushstroke, of a body's passage through time in front of the lens.\n\nWhat the series ultimately argues is philosophical. A body is never only at one place at one moment. It is always arriving, departing, remembering the posture it just held. Conventional portraiture suppresses this fact; Motus<\/em> makes it the subject. The figures in these images are not ghosts or abstractions. They are bodies photographed honestly, in the durational register in which bodies actually exist.\n\n<\/section>\n
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Selected Works<\/h2>\n<\/div>\n<\/article>
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In Haste<\/a><\/span><\/p><\/h4><\/div>

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

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

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FLUX<\/h3><\/div>
\"\"<\/a><\/div><\/div>
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\"\"<\/a><\/div><\/div>
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\"A<\/a><\/div><\/div>
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\"Black<\/a><\/div><\/div>
\"Abstract<\/a><\/div><\/div>
\"A<\/a><\/div><\/div>
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\"Abstract<\/a><\/div><\/div>
\"Softly<\/a><\/div><\/div>
\"Blurred<\/a><\/div><\/div>
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\"Soft-focus<\/a><\/div><\/div>
\"Abstract<\/a><\/div><\/div>
\"Soft,<\/a><\/div><\/div>
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\"Soft<\/a><\/div><\/div>
\"Softly<\/a><\/div><\/div>
\"Silhouetted<\/a><\/div><\/div>
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\"Silhouette<\/a><\/div><\/div>
\"A<\/a><\/div><\/div>
\"A<\/a><\/div><\/div>
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\"A<\/a><\/div><\/div>
\"Nude<\/a><\/div><\/div>
\"Bare<\/a><\/div><\/div>
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\"Blurred<\/a><\/div><\/div><\/div><\/div>\n\n\n\n
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Technique & Editions<\/h2>\nMotus<\/em> is made exclusively through in-camera long exposure, with the figure moving through a choreographed sequence within a single frame. No multi-exposure or post-production blending is used; the movement in the image is the movement that happened in front of the camera.\n\nThe series was shown in Bodies in Movement<\/em>, Loosen Art Gallery, Rome, 2019. Archival pigment prints are released in limited editions of 5 + 1 Artist Proof on Hahnem\u00fchle papers. Selected works are available through Artsper<\/a>, Saatchi Art<\/a>, and Artmajeur<\/a>. For direct inquiries: print@burakbulut.org<\/a>.\n\n<\/section>