Rapidly changing dynamics, which embrace the future by destroying it, reveal a scene in which the relationship between nature and human beings is becoming increasingly complex. When we problematize nature rather than the misconception that we confine it to our homes in a flower pot and see it only as a background, the cracks created by human intervention herald an existential shake-up beyond the ecological balance. “Breaking Line” questions the processes of destruction, intervention and rebirth of the fragile relationship between nature and humans, in which one always tries to overcome the other, through the original works of ten artists from different disciplines. This exhibition allows not only environmental crises but also cultural memory, forgotten traces and lost ties to become visible.

With his installation, Abdulvahap Uzunbay ironically addresses the human intervention on nature. Composed of 120 paper bricks, this structure, as both a real and a fictional entity, brings with it a multi-layered narrative that calls for social sensitivity and responsibility. In an environment where the structural order is imposed, the work gives the viewer the experience of both existence and deconstruction. Ayşenaz Ayral interprets the tension between technological transfer processes and the natural disorder of nature through a spatial language. Dealing with the temporary contact between the scanning device and the surface, together with sound and image distortions, the work reminds the viewer of the rough, unexpected nature of surfaces; a collision between digital expectation and organic reality is experienced here. Başak Çolak’s work, which centers on a piece of tree ripped from nature, transforms the ecological rupture brought about by human intervention into a visual language. The isolated, uprooted tree figure symbolizes the weakening of the interaction between nature and human beings, the existential wounds and the search for reconnection. The work presents a profound metaphor that makes the viewer question the effects of intervention in nature. Delal Eken’s works reveal the silent memory created by structures that are submerged under the soil or water, melting away at first glance. Between the destruction of nature and cultural collapse, these structures bear the fragmentary traces of existence. Ignored and condemned to erasure, these forms reveal vague scenes of memories that have become unrecognizable, reminding the viewer of a common fate that continues towards extinction. Eylül Civelek’s textual and visual narrative focuses on the deep, inner relationship of the individual with nature. This work, in which each individual takes part in the silent search for the past and the future with their own traces of roots, questions the continuity of existence and identity in a poetic language. The viewer is invited to rediscover the traces of awareness and attachment that exist in and around them. With his photographs documenting the transformation of quiet ecological areas away from the busy pace of Istanbul, Hüseyin Güler reveals how nature evolves silently under human intervention. Far from the noise of urban life, these images take the viewer out of their comfort zone and make them realize the ignored but vital aspects of nature. Kaan Sümer’s botanical installation shows how life deteriorates in a closed system and the traces of the entropic process. Bringing together glass, water, moss, stone and plants, this work represents the constant transformation of our planet and the fragility of the natural balance that will be eroded over time. Here, the sustainability of life is questioned on both a physical and conceptual level. Nisan Talaz’s clay-based works embody the cycle of birth, death and rebirth. Revealing the tension between the material’s inherent malleability and the human desire for structure, the work constructs new meanings in an ecological and cultural context. This work, in which the duality of nature and culture is reinterpreted, bears the traces of the search for aesthetic and conceptual balance. Seçil Büyükkan reconstructs the rootlessness between nature and man as strength and solidarity at the same time. Inspired by the “Banyan” tree, these abstract figures emphasize that it is possible to exist, reunite and capture sacred energy even in disconnection. The work offers the viewer a hopeful message that existence can be rebuilt. Şafak Kocaoğlu works the scars left by gold mining detected in satellite images from Kazdağları, Fatsa and Kışladağ on wooden plates, revealing the destruction of nature and the permanent traces of human intervention. These narratives engraved on nature can be interpreted as the silent cries of ecological memory, historical testimony and the complex relationship between nature and humans.

“Breaking Line” opens a space of confrontation through art. This confrontation is directed not only towards nature, but also towards the memories we ignore, the fading bonds, our individual responsibilities and our imaginations about the future.