After intense clashes in northern Syria, it was no different than walking in a ghost town. Almost all bodies were removed, however cars were scattered around like bodies. Most of the cars in Kobanê were used for barricades or carrying bombs, waiting to be removed like bullet-riddled bodies that died prematurely. I already had an idea of the visual entirety before shooting the Dead Car photo series. All the fixed notions of my photographies such as ‘’reality’’, and sources of varieties of typological reading were right in front of me. I tried to tell the story as simple as possible, without dramatizing it, and taking out the human factor from my compositions. By electing such a strong element as color from the photographies, I tried to let figurative reading, open the way for entirety.
Barbaros Kayan (Turkey 1982) When I was 8, while trying to create my own mixture with house cleaning products, hydrochloric acid reacted to bleach and although this left me out of breath for moments, I am still alive. I am still doing the same thing; trying to perceive and understand life, this time not with chemicals but with my camera. When I first started to develop interest in the discipline of documentary, I realised that the photographer can project himself onto the photographs he takes. Although what we see in such photographs is purely life itself, it is quite interesting to also find the chemistry of the photographer in the images. I think photography is not just an aesthetic frame which provides us charming images. Besides its purpose as a historical record, if the photographer wants it to, a photograph can speak all the languages of the world; can read the codes of life and human beings.