Wasteland by Mert Acar

Edition: Original print, 10 copies.
Authentication: Numbered certificate signed by the artist, invoice.
Medium: Photography.
Technique: Museum quality fine art print.
Colour: UltraChrome K3 pigment inks.
Media: Hahnemühle, FineArt Baryta 300g paper.
Print: Photo with white surround.
Framing: Mounted on Dibond® with recessed frame, Floater frame.

 553.89 1195.54 inc. VAT

Clear

Further information

Method of payment: Secure card payment via our partner Stripe, Paypal, bank transfer.
Lead time prior to shipping: 7 days for a print, 15 days for a framed print.
Delivery: To your home address or a collection point. Almost anywhere worldwide.
Delivery fee: Free, small charge for certain destinations.
Durability: Colour stability, indoor UV resistance thanks to mineral pigment inks encapsulated in resin projected on a 100% Alpha cellulose backing.
Lifespan: 75 years without deterioration with normal indoor exposure. Results of tests carried out in independent laboratories.
Maintenance: Stable ambient surroundings recommended for the work. Avoid variations in temperature and humidity. Avoid direct sunlight.
Recommended humidity level: 35 to 65%.
Recommended temperature: 10 to 30°C.
Standards and certification: Acid and lignin-free. Standard ISO 9706 long life.

About the artist

Mert Acar (b. 1989, Ankara) graduated in 2012 from Hacettepe University, Department of Graphic Design. He went on to complete his Master’s degree at Gazi University, Department of Fine Arts in 2017. He subsequently started his Art Proficiency programme at the same institution. He had his first solo show, Placeholder, at METU, and his second solo show, Flashers On, at Torun. His work has been exhibited at ODTÜ Sanat, Cermodern, Mamut Art Project, Siyah Beyaz Galeri, BASE, Plato Sanat, Mixer Galeri, and the Akbank 36th Contemporary Artists Exhibition. His series Placeholder was exhibited in 2018 at the Subjectively Objective gallery space in Detroit and was published as a monograph. He resides and works in Ankara. 

Website: mertacarart.com

More about Mert Acar

ON THE
TECHNICAL
SIDE

How did you choose your means of expression?

I studied graphic design at college and took photography classes, but they were commercially oriented. Then I started an MFA programme in painting and decided to use my photography education through the perspective of fine art.

Is this medium secondary to or closely linked to your subject?

Photography is my main medium, but it is not the only one. I also create installations and video art linked to my subjects.

How does a work session take shape?

I usually go out and drive around to find places that fit my current approach but sometimes I go directly to a specific location for ongoing projects.

Can you explain to me how your work has evolved since starting out?

I started out in 2014. Since then I have done so many projects and they led me to read a lot about photography and particularly landscape which include authors like Robert Adams, Liz Wells, Yi-Fu Tuan, John Urry, Marc Augé, Tim Cresswell, etc. The process of shooting made me think a lot but reading and studying photography and landscape made me think even more. With every project, I’ve expanded my vision a little bit more and realised that making art is a way of thinking visually. So, my works evolved into long term studies instead of descriptions or mere documentation.

ON A MORE
PERSONAL
NOTE

What are your sources of inspiration?

Art history, fellow emerging artists and photographers, novels and movies, driving and walking, exhibitions, biennales, architecture, highways, dilapidated structures and buildings.

ON A MORE
PHILOSOPHICAL
NOTE

Are your works more of a dialogue, a trace or a denunciation?

They are more like a mixture of dialogue and trace. Photography is a great tool for studying the world through traces. I sort of create dialogues by photographing subjects like altered landscapes, architecture, empty spaces and traces of environmental damage.

Do you wish to make viewers wonder or do you prefer to question them?

I don’t like artworks with exact definitions – they have some sort of user’s manual – but I also don’t like silent mysterious artworks. Giving a short statement is the key for me. It is like opening up some windows so the viewers can choose their viewpoint and create new approaches.

IN
CONCLUSION

What are your current and future projects?

Lately I started a night photography series focused on mostly architecture and artificial lights. I’ve also been designing a kinetic photography installation over last couple of months. The learning curve is a little steep because of all the mechanical and electronical parts but I get help from a friend. When it’s finished it will look like a sliding billboard with a looping image. There’s also a video art project I’ve been postponing for a year which is based on my Placeholder series.