kaya erdinç
  artist and writer

                       kayaerdinc@dds.nl                         +31645719368                                


loud hand (2022)
Who gets to assemble a private space, and who doesn’t? It was through my revisionist engagement with Teresa of Ávila's The Interior Castle (1577) that I learned, alongside mentor and friend Bibi Straatman, more about what it means to maintain an inner dialogue in our current political climate. What are the consequences when we do not get to cultivate one in the first place? The accompanying prose poem tries to share the impossibility of translating the filmed event, an imagined to-and-fro between myself and Bibi, as it asks: does the presence of a screen destabilise the condition for an open dialogue, or could it complement it?

Publication is available
 on request.


text, by jessica higgins:

silent, minor, grave (2022)
for ASPHALTE magazine’s
film issue + submission letter

i am here
to be protective
which is why
i offer you
a silent film
one that has been
falling apart
within clarity’s
most disgraceful finalisation
as i neared the YOU
of culminations.
your doubtful ashes.
in the summer of 2021 you remained
as a completist poppy
full and whole,
against your inner wishes
seven thousand hidden
that originate
from privacy
as their most perturbed root:
there is not a Teresa of Ávila,
in either of us,
as the present moment shows
but she did fell in love
and that is
our consolation
deflection, a look away,
is not enough
i can only invite the reader
into the force with which
you pushed me home
as i filmed
in accepting namelessness
you have embraced
something terrible.
i will shy away
from your
and sound
in this film
my affinity
for you
is a source
(of resigned courage)
of resignabilty

then, out of a long silence:
why didn’t you garden more!
which assisted me
in my first-ever
wilfull imposition

is this why
the poppy’s colours
kept bleeding
so viciously
and vengefully
into the dark chamber
of my camera?