Candas Sisman(1985, Izmir) studied fine arts in Izmir Anadolu High School for Fine Arts and graduated from the Animations Department of Eskisehir Anadolu University in 2009. He spent his one year of college receiving multimedia design training in Holland (2006-2007). With Deniz Kader, in 2011, he founded “NOHlab”. Candas aims to manipulate our notion of time, space and motion by his work, using digital and mechanical technologies. Taking the sciences of nature and universe as his reference point, he combines physical forms with images that are produced digitally. Candas has received an Honorary Mention from Prix ARS Electronica Computer Animation/Film/VFX and Best Prize in Sound Design from Roma Viedram Video Festival. He has participated in Venice Architecture Biennale, TED X, ARS Electronica, Todaysart Festival and FILE Festival. He recently realized the Sonicfield-01 Sound Installation in Venice Architecture Biennale and ‘FLUX’ audiovisual installation at the Ilhan Koman Hulda festival in Istanbul. Candas Sisman is living and working in Istanbul.
Motor, Steel Balls ( 9 mm ), Glass
Whether we have learned in the recent past, spiritual or physical, everything points out that the universe is connected. For this reason, we get out of sharp distinctions, such as macro and micro over time. We start to see everything in the same whole. We need to take a closer look to the habitat that Candas Sisman created of pixel square forms of the digital world. The micro-level themes printed from a printer with detailed printing technique, shows the audience how complex structures is formed from simple forms by using the digital world atoms, the pixels. Discovered with the help of micro-level lenses, each piece is linked with each other and makes itself visible with the prominent characteristic of fractal structures.
Time, is always defined by people as the sum of continuities that are always going forward. When we define a moment, we find the last point of all the processes described before and we understand where we are. What we define as an “Arrow of time”, the situation of moving always forward is originally contrast to the universe that we live. Perhaps the expansion of the universe is heterogeneous, who knows? Continuuum depicts the infinite possibilities of time with its mechanical system and reminds us once again that we see time in different dimensions with its distributed cycle.
CYCL is a word that points to CYCLE. It refers to the starting and ending points of the processes we are dealing with and it correlates this with a natural phenomenon; CYCLONE. Also it points out the cycles that revealed by the similarities between MACRO and MICRO scales in the universe.
This project creates a sensorial simulation of circularity: a system that always works, stops and restarts. It cannonades the audience with information and perception for a short time and cuts off abruptly. It confronts the audience with NOTHING through this contrast and represents an experience based on MOMENT and NULLITY and only aimed at feelings, while we are eluding the chaos of complexity and information in the world that we live socially.
About the General structure of the project, Circularly hung, intertwined fragments will begin rotating along with the fan which is positioned at the centre of the screen, as the animation reflected upon it begins playing. Simultaneously, the synchronised sound design is activated as well. Through the use of fans, the sense of touch providing an air current within in the area.
Coming about to understand the human nature of comprehending linguistics is that of a complex take –on. The constituent elements of language, in general content, bring forward the theory of other minds sharing, with intentioned communication.
Thought varies with the use and absence of language that comes to be found in line with the development of thinking and impulses from our daily surrounding. Eventually language creates our point of view just as much as our ideas and perception of matters, individualistically.
Art plays a crucial role in demolishing the boarders of our comprehension our mindset is framed into by literate language. Human language serves as a rather conservative form of communication when comparison to musical language; where the freedom of space employs as a resort for that broad horizon of that, that in search of cutting-edge form of broadcast.
IPOcle is an installation simulating the way we perceive the reality that exist in our physical world and the various layers, variables, cycles that are present in this process of perceiving. With the senses that we have, we can perceive only a limited portion of the physical reality that surrounds us. This perceived physicality keeps altering as it goes through many layers and processes (biological and psychological)
in our brains. These perceptions draw our perceptual schemas and these schemas in turn shape the reality we perceive. Our perceptions and what we perceive, therefore, constantly reshape call each other into being, as in a vicious cycle. At this point, how can we define what reality really is, what constant can we refer to, and aren’t we supposed to look at this issue in a more holistic and intertwined manner?
The IPOCle is made of a strong light source, lenses, a convex mirror, a fog machine and a sound system; installed inside a dark container. The light source is located so that the goes through the lenses, hung one after another. The refracted light reaches the mirror. The convex mirror transforms the light and reflects it back. The fog machine keeps running to make the dispersed light visible for us; while a base frequency keeps running in the background.
The light and the light source describe physical reality and input
The lenses: The process and various factors of perception
The mirror: What is perceived, the output and the cycle.