The art world started to interest me as a child. My grandmother used to draw pictures and I would be impressed by her doing that. I can say that I gained my visual and auditory emotions as a child.

Poetic, surreal and inspiring.

I believe animals and nature add a lot of strength to my compositions. I use objects purely as a metaphor. Actually, my inspiration process is not easy for me. Sometimes I need to think about a topic for a day or a few weeks. Often, stories with freedom or captivity trigger my imagination. Here, I reach a point by pushing the limits of my imagination. Creating a job for me consists of three stages. One, the idea. Two, imagination (emotion). And three, my experiences.

Graphic art is currently the most important tool for artists like me who are moving from traditional art to digital. Especially the digitalisation of modern art provides convenience for everyone. But this also has certain difficult parameters. If you know the current design principles, you only need to learn the program. If you try to make graphic art from scratch, it can tire you. Therefore, in order to be able to make graphic art, you must know classical art principles and educate your aesthetic perception well. In summary, I believe that graphic art is a vehicle that provides comfort between art and artist.

I draw a lot of sketches before I create the scenes. The process develops differently in the videos. I review over and over again the music I will use and the dynamics that will activate the audience's emotions. For example, I'm trying to get the right auditory music to support a movement in a video. I always try to create the right materials at the right moment. Before the video ends, I go towards the finish line, trying to feel the finished form in my head. This also takes longer than usual. For example, the Dead Air video lasted 4 days. I repeat myself until the scene I created impresses me.

I decided to make this change because I believe modern art is going digital. After completing my studies in traditional painting vertical, I reshape the art trends of the digital world in this direction and produce them in an original form. I enjoy the 3D visual world and it excites me. I think cinema in 4D is a world where I can show my imagination to people as it is. Therefore, I will continue to work in 3D for a long time.

I've been trying to set a standard for my own aesthetics for a long time. I like to use cool colours and soft shades both in terms of composition and colour palette. In the Refuge series, I came up with this work, not only the refugees in Istanbul but also everyone who could not embrace their place in the world.

I have been impressed by classical and modern art throughout my life. So I decided to reshape these works in an extraordinary and innovative form. When I scanned the fur in the direction of brush strokes, I made sure that the detail in the works was as little as possible in order not to disrupt the general form.

It has long been common to reproduce the world's most famous paintings by imitation. For the first time in my life, I decided to revive a work done in the past with a unique technique in the world. For this, I worked on this technique for a long time. I thought, how can I reproduce a work done before in the most different way? I developed the idea of combing the fur in the direction of brush strokes. I knew that there should be very little detail in the picture I will use in doing this. That's why I used the most outstanding pictures.

In the Change series, I took a post-modern approach and shaped some of the popular brands in a primitive way and some according to other needs forms. I enjoyed producing these works because I believed anyone who saw the Coca Cola brand as a fire tube would be amazed. This is the case in general life theory. When human perception is out of the ordinary, it is sometimes unresponsive and sometimes surprised. I created all these brands in different ways because I was totally curious about the reactions to this change of perception.

The first 3 months of the pandemic were productive for me. By internalising my feelings, I produced many works and Furry Artworks, which I describe as my masterpiece, emerged. But now I am also experiencing the downsides of this situation taking a long time. When we get used to too much time, we can become inefficient. I always try to motivate myself but if you ask me, I can say that people are bored with this situation. The pandemic has served those who need time, but human communication now seems to be completely cut off. Meetings are held online, many education systems have started distance education. I think this situation is not good for humanity.

Thanks to the work I produced during the quarantine period, I had the opportunity to establish brand collaborations. I have big professional goals in 2021 and I hope I will achieve everything I have created in my mind perfectly.

Absolutely right. I am not happy with the current state of the world. There are many societies where people of all kinds cannot coexist. I can not understand that. I believe that every person should have the right to equal life and I produced the Dispute series for this purpose.

While answering this question, I am afraid of doing injustice to my own work. I have three favourite TV series that I have done with my heart until now. The first is Leftovers, the second is Dispute and the third is Nothingness. In my works, I usually try to work on the theme of freedom and captivity at the same time, and there are three TV series that I think reflect them in the most accurate way. I love these three series because they move me emotionally.

Actually, I have new projects that I have been working on for a long time. I am working on an artistic short film video. Apart from these, among my big goals for 2021, I have an attempt to establish my own studio. I have not mentioned this in my previous interviews, but as we enter 2021, I am sharing my excitement with you for the first time.