Unfinished original concept started at 2021

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Redrawn with new composition at 2023

I'm so proud of where I am now compared to where I was in the past 🥹

“The Pall Mall Gazette,” 18 September.

THE ESCAPED WOLF. PERILOUS ADVENTURE OF OUR INTERVIEWER. Interview with the Keeper in the Zoölogical Gardens.

After many inquiries and almost as many refusals, and perpetually using the words “Pall Mall Gazette” as a sort of talisman, I managed to find the keeper of the section of the Zoölogical Gardens in which the wolf department is included. Thomas Bilder lives in one of the cottages in the enclosure behind the elephant-house, and was just sitting down to his tea when I found him. Thomas and his wife are hospitable folk, elderly, and without children, and if the specimen I enjoyed of their hospitality be of the average kind, their lives must be pretty comfortable. The keeper would not enter on what he called “business” until the supper was over, and we were all satisfied. Then when the table was cleared, and he had lit his pipe, he said:—

“Now, sir, you can go on and arsk me what you want. You’ll excoose me refoosin’ to talk of perfeshunal subjects afore meals. I gives the wolves and the jackals and the hyenas in all our section their tea afore I begins to arsk them questions.”

“How do you mean, ask them questions?” I queried, wishful to get him into a talkative humour.

“’Ittin’ of them over the ’ead with a pole is one way; scratchin’ of their hears is another, when gents as is flush wants a bit of a show-orf to their gals. I don’t so much mind the fust — the ’ittin’ with a pole afore I chucks in their dinner; but I waits till they’ve ’ad their sherry and kawffee, so to speak, afore I tries on with the ear-scratchin’. Mind you,” he added philosophically, “there’s a deal of the same nature in us as in them theer animiles. Here’s you a-comin’ and arskin’ of me questions about my business, and I that grumpy-like that only for your bloomin’ ’arf-quid I’d ’a’ seen you blowed fust ’fore I’d answer. Not even when you arsked me sarcastic-like if I’d like you to arsk the Superintendent if you might arsk me questions. Without offence did I tell yer to go to ’ell?”

“You did.”

“An’ when you said you’d report me for usin’ of obscene language that was ’ittin’ me over the ’ead; but the ’arf-quid made that all right. I weren’t a-goin’ to fight, so I waited for the food, and did with my ’owl as the wolves, and lions, and tigers does. But, Lor’ love yer ’art, now that the old ’ooman has stuck a chunk of her tea-cake in me, an’ rinsed me out with her bloomin’ old teapot, and I’ve lit hup, you may scratch my ears for all you’re worth, and won’t git even a growl out of me. Drive along with your questions. I know what yer a-comin’ at, that ’ere escaped wolf.”

“Exactly. I want you to give me your view of it. Just tell me how it happened; and when I know the facts I’ll get you to say what you consider was the cause of it, and how you think the whole affair will end.”

“All right, guv’nor. This ’ere is about the ’ole story. That ’ere wolf what we called Bersicker was one of three grey ones that came from Norway to Jamrach’s, which we bought off him four years ago. He was a nice well-behaved wolf, that never gave no trouble to talk of. I’m more surprised at ’im for wantin’ to get out nor any other animile in the place. But, there, you can’t trust wolves no more nor women.”

“Don’t you mind him, sir!” broke in Mrs. Tom, with a cheery laugh. “’E’s got mindin’ the animiles so long that blest if he ain’t like a old wolf ’isself! But there ain’t no ’arm in ’im.”

“Well, sir, it was about two hours after feedin’ yesterday when I first hear my disturbance. I was makin’ up a litter in the monkey-house for a young puma which is ill; but when I heard the yelpin’ and ’owlin’ I kem away straight. There was Bersicker a-tearin’ like a mad thing at the bars as if he wanted to get out. There wasn’t much people about that day, and close at hand was only one man, a tall, thin chap, with a ’ook nose and a pointed beard, with a few white hairs runnin’ through it. He had a ’ard, cold look and red eyes, and I took a sort of mislike to him, for it seemed as if it was ’im as they was hirritated at. He ’ad white kid gloves on ’is ’ands, and he pointed out the animiles to me and says: ‘Keeper, these wolves seem upset at something.’

“‘Maybe it’s you,’ says I, for I did not like the airs as he give ’isself. He didn’t git angry, as I ’oped he would, but he smiled a kind of insolent smile, with a mouth full of white, sharp teeth. ‘Oh no, they wouldn’t like me,’ ’e says.

“‘Ow yes, they would,’ says I, a-imitatin’ of him. ‘They always likes a bone or two to clean their teeth on about tea-time, which you ’as a bagful.’

“Well, it was a odd thing, but when the animiles see us a-talkin’ they lay down, and when I went over to Bersicker he let me stroke his ears same as ever. That there man kem over, and blessed but if he didn’t put in his hand and stroke the old wolf’s ears too!

“‘Tyke care,’ says I. ‘Bersicker is quick.’

“‘Never mind,’ he says. ‘I’m used to ’em!’

“‘Are you in the business yourself?’ I says, tyking off my ’at, for a man what trades in wolves, anceterer, is a good friend to keepers.

“‘No’ says he, ‘not exactly in the business, but I ’ave made pets of several.’ And with that he lifts his ’at as perlite as a lord, and walks away. Old Bersicker kep’ a-lookin’ arter ’im till ’e was out of sight, and then went and lay down in a corner and wouldn’t come hout the ’ole hevening. Well, larst night, so soon as the moon was hup, the wolves here all began a-’owling. There warn’t nothing for them to ’owl at. There warn’t no one near, except some one that was evidently a-callin’ a dog somewheres out back of the gardings in the Park road. Once or twice I went out to see that all was right, and it was, and then the ’owling stopped. Just before twelve o’clock I just took a look round afore turnin’ in, an’, bust me, but when I kem opposite to old Bersicker’s cage I see the rails broken and twisted about and the cage empty. And that’s all I know for certing.”

“Did any one else see anything?”

“One of our gard’ners was a-comin’ ’ome about that time from a ’armony, when he sees a big grey dog comin’ out through the garding ’edges. At least, so he says, but I don’t give much for it myself, for if he did ’e never said a word about it to his missis when ’e got ’ome, and it was only after the escape of the wolf was made known, and we had been up all night-a-huntin’ of the Park for Bersicker, that he remembered seein’ anything. My own belief was that the ’armony ’ad got into his ’ead.”

“Now, Mr. Bilder, can you account in any way for the escape of the wolf?”

“Well, sir,” he said, with a suspicious sort of modesty, “I think I can; but I don’t know as ’ow you’d be satisfied with the theory.”

“Certainly I shall. If a man like you, who knows the animals from experience, can’t hazard a good guess at any rate, who is even to try?”

“Well then, sir, I accounts for it this way; it seems to me that ’ere wolf escaped — simply because he wanted to get out.”

From the hearty way that both Thomas and his wife laughed at the joke I could see that it had done service before, and that the whole explanation was simply an elaborate sell. I couldn’t cope in badinage with the worthy Thomas, but I thought I knew a surer way to his heart, so I said:—

“Now, Mr. Bilder, we’ll consider that first half-sovereign worked off, and this brother of his is waiting to be claimed when you’ve told me what you think will happen.”

“Right y’are, sir,” he said briskly. “Ye’ll excoose me, I know, for a-chaffin’ of ye, but the old woman here winked at me, which was as much as telling me to go on.”

“Well, I never!” said the old lady.

“My opinion is this: that ’ere wolf is a-’idin’ of, somewheres. The gard’ner wot didn’t remember said he was a-gallopin’ northward faster than a horse could go; but I don’t believe him, for, yer see, sir, wolves don’t gallop no more nor dogs does, they not bein’ built that way. Wolves is fine things in a storybook, and I dessay when they gets in packs and does be chivyin’ somethin’ that’s more afeared than they is they can make a devil of a noise and chop it up, whatever it is. But, Lor’ bless you, in real life a wolf is only a low creature, not half so clever or bold as a good dog; and not half a quarter so much fight in ’im. This one ain’t been used to fightin’ or even to providin’ for hisself, and more like he’s somewhere round the Park a-’idin’ an’ a-shiverin’ of, and, if he thinks at all, wonderin’ where he is to get his breakfast from; or maybe he’s got down some area and is in a coal-cellar. My eye, won’t some cook get a rum start when she sees his green eyes a-shining at her out of the dark! If he can’t get food he’s bound to look for it, and mayhap he may chance to light on a butcher’s shop in time. If he doesn’t, and some nursemaid goes a-walkin’ orf with a soldier, leavin’ of the hinfant in the perambulator — well, then I shouldn’t be surprised if the census is one babby the less. That’s all.”

I was handing him the half-sovereign, when something came bobbing up against the window, and Mr. Bilder’s face doubled its natural length with surprise.

“God bless me!” he said. “If there ain’t old Bersicker come back by ’isself!”

He went to the door and opened it; a most unnecessary proceeding it seemed to me. I have always thought that a wild animal never looks so well as when some obstacle of pronounced durability is between us; a personal experience has intensified rather than diminished that idea.

After all, however, there is nothing like custom, for neither Bilder nor his wife thought any more of the wolf than I should of a dog. The animal itself was as peaceful and well-behaved as that father of all picture-wolves — Red Riding Hood’s quondam friend, whilst moving her confidence in masquerade.

The whole scene was an unutterable mixture of comedy and pathos. The wicked wolf that for half a day had paralysed London and set all the children in the town shivering in their shoes, was there in a sort of penitent mood, and was received and petted like a sort of vulpine prodigal son. Old Bilder examined him all over with most tender solicitude, and when he had finished with his penitent said:—

“There, I knew the poor old chap would get into some kind of trouble; didn’t I say it all along? Here’s his head all cut and full of broken glass. ’E’s been a-gettin’ over some bloomin’ wall or other. It’s a shyme that people are allowed to top their walls with broken bottles. This ’ere’s what comes of it. Come along, Bersicker.”

He took the wolf and locked him up in a cage, with a piece of meat that satisfied, in quantity at any rate, the elementary conditions of the fatted calf, and went off to report.

I came off, too, to report the only exclusive information that is given to-day regarding the strange escapade at the Zoo.

FMA Extended Media Recommendations - Gold Tier (Second Place)

Continued from here!

The Abducted Alchemist (Novel)

This novel is a classic example of FMA’s fantastic combination of humor and seriousness. It all starts with an irritated Ed pranking Roy by pretending to be his son while Roy’s chatting up some women. Yep.

An odd series of terrorist attacks has been going on, with bombings targeting train tracks, family of military officers being targeted, and most strangely, no casualties. The public is growing increasingly hostile towards the military as they continue to fail to catch the culprits in this bizarre case. Fortunately, Roy gets a hilariously ironic lucky break when the terrorists, apparently having overheard Ed’s prank, mistake him for Roy’s actual son and kidnap him.

Upon hearing the news, Al and the soldiers at East City have a unanimous reaction of “Oh god, those poor terrorists. Maybe we should send flowers.” But there is still a mystery to be solved, and the story has a wonderful mixture of suspense, humor, and drama.

Fullmetal Alchemist Profiles (Book)

Known in Japan as “Perfect Guidebook 1″, this one one of few FMA guidebooks released in English. The reason it’s not red tier is because it’s a very old book from early on in the series, and doesn’t include characters like Ling, Olivier, or even Father. A lot of the information included is also fairly basic.

But nonetheless, it’s a great book with interesting insight into characters, fun trivia, quizzes, a look at Arakawa’s office and gossip from her assistants, bonus manga, development notes, and more. As old as it is, I actually refer to this book for trivia and fact checking all the time. It also includes an original bonus manga, the Blind Alchemist, which the OVA of the same name was based off. It’s a fantastic book that I would highly recommend to any FMA fan.

Fullmetal Alchemist and the Broken Angel (Game, Playstation 2)

Broken Angel is the first of the PS2 games, and thus not as... nice-looking as the second one, but the plot is a lot more FMA-like than Crimson Elixir. Like Crimson Elixir, the gameplay is very similar to Kingdom Hearts. I haven’t played this game in a long time and I have never fully understood the plot at all, so bear with me as I try to give a summary!

After a train crash, Ed and Al arrive in the town of New Hiessgart. Ed and Al meet a girl named Armony Eiselstein, whose father is an alchemist working on developing I Can’t Believe It’s Not the Philosopher’s Stone!™. Ed and Al hope to learn more about this item, known as the Philosopher’s Catalyst, while Armony wants them to teach her alchemy behind her father’s back. But strange things are afoot, with chimeras overrunning the town, and corrupt military groups going rogue. There may be more to the Eiselstein family than even Armony knows...

My favorite part of this entire game is the hilarious recurring boss, Genz Bresslau. Genz, the Armor-Piercing Alchemist, is a corrupt military officer with an automail arm of which he is very proud. After getting totally trashed by Ed, Genz makes it his goal to prove that his automail is better. Despite having little to no bearing on the actual plot, Genz repeatedly reappears for fights with more and more automail, defying all logic, though Ed keeps trying to explain that he really just does not care about this whole automail superiority complex or Genz at all.

Prince of the Dawn (Game, Wii, Japan only)

Really, the picture says it all. Prince of the Dawn and its sequel, Daughter of the Dusk, are very zany games. If you ever happen to come across something that looks like Brotherhood official art, but seems too ridiculous to be real, it’s probably from one of the Wii games. This game takes place some time in the middle of the manga’s plot, and unlike other games, it does include later characters such as Ling and Greed. It also gives more worldbuilding information, with the first real detailed mentions of Amestris’ southern neighbor, Aerugo.

I can’t say much about the plot, because I never made it very far in the game. I know Prince Claudio Rico of Aerugo has come to Amestris to negotiate and hopefully end the ongoing border war, and a festival is held to celebrate. But it seems the homunculi are trying to frame Roy for an assassination attempt on the prince... I think? I’m really not sure. Rather than being a fighting game like most FMA games, it’s mostly a point-and-click game, with multiple choice dialogue options to try to solve a mystery. There’s also a lot of minigames that make use of the Wii’s motion controls.

Because the game is based around discussion and mystery-solving, unfortunately it’s really not for anyone who isn’t fluent in Japanese. I’ve tried to play it several times, but my Japanese isn’t good enough to really understand what’s going on, and it took me forever to figure out this one mandatory Biggoron’s Sword-esque trading sequence because I couldn’t understand what my orders were. But if you do speak Japanese, it’s a fun and ridiculous game, and great for people who might not be into fighting games.

The Tale of Teacher (OVA)

We’ve all heard about the legendary incident in which Izumi Curtis stole rations from the Briggs mountain guard for a month, but have you ever wondered why she did that? This short OVA tells the story of 18-year-old Izumi’s quest for an alchemy teacher, her harsh initiation test, and how a dead bear helped her find true love. If you thought Ed and Al’s month on Yock Island was brutal, Izumi’s apprenticeship story will make you go “Woah, she really coddled those kids.”

Alper Maral

Malzemeyle bu denli vasıtasızca ilişki kurabilen - filmi heykel, müziği ekmek gibi yoğurabilen - başka kimse tanımıyorum. Volkan Ergen camiamızın en yaratıcı insanlarından biri şüphesiz, ama bu ifadenin sanat retoriğiyle sınırlı kalmaması gerekir; günümüzün, içinde savrulurcasına debelendiğimiz keşmekeşinde, tarihöncesinin uğultu dolu dünyasında yönünü korkusuzca bulan bir ilk insan gibi, ilerlemesini sürdürüyor. Seçtiği yol hiç kolay değil. Onu yalnız bırakmamalıyız. Ben varım, yanındayım.

I don't know anyone else who can relate with material such directly,  welding the film like a sculpture and the music like a dough.. Volkan Ergen is one of the most creative person in our community beyond any doubt, and this should not be understood as limited to the expression of the art; today, in this great disorder in which we wallow, he keeps on improving, like a primitive man who finds his way fearlessly in prehistoric world filled with gabbling. The way he has chosen is not easy. We should not leave him alone. I am all for it, with you.

Gamze Toksoy

Volkan Ergen'in işleri alışılagelmiş görsel ve işitsel algılarımızın sınırını zorlar, bizi kendi ritminde bir devinime dahil eder, anlamaya bakmaya ve duymaya dair bildiklerimizi yeniden gözden geçirmeye davet eder. Bazen tekrarlar sabrımızı zorlar, bazen duyamaz olur ya da gürültüde sessiz kalırız. Deneysellik alanını yeniden örme iddiasındaki bu işler zihninizin bir yerlerini huzursuzca yakalar...

Volkan Ergen's works press in upon our ordinary visual and auditory perceptions, include us in a rhythm of their own dynamism, invite us to review again what we know about understanding, seeing and hearing before. Sometimes the loops challenge our patience, sometimes we are not able to hear or have to keep silent in the noise. These works that claim to reknit the experimental field haunt our minds uncannily...

Elif Ergezen

Volkan Ergen'in sanatı üzerine bir yazı yazmak kolay değil. Bir kere tanımsız, alabileceği tek kesin sıfat herhalde "özgün" oluşu... Biricik ve tercümesiz. Duyularımızın alışmadığı bir gerçekliği sunuyor. Bedenin ve olmakta olanın müziğini bulmaya çalışan bir müzisyen aslında. Böyle olunca dans ve sinema sanki gerçeğe bir armoni vokal yapıyor. Belgesel sinema "gerçek" sanki tek ve tartışmasız bir şeymiş gibi fazlasıyla sınırlar arasına hapsedilmiş ve bu sınırlardan yaşama sızmaya çalışan ve bence sızdığı ölçüde de kendini bulan bir sanat biçimi. Volkan Ergen'in yaptığıysa işte belki sanatı ve gerçeği bir yaşam bütünü içinde ele almak, yaşamı bir sanat olarak duymak. Belki. Zira tanımlamak güç, ele avuca gelmez, muğlak, sisli... Tekrar ve tekrar. Yaşam, yaşam, yaşam, yaşam, yaşam, duy ve gör, yaşam, yaşam, yaşam, yaşam, yaşam, duy ve hisset, yaşam, yaşam, yaşam, yaşam...

Writing on Volkan Ergen's art is not easy. Firstly, it is undefined, the only definite adjective it can possibly take is "original"... Unique and untranslatable. It presents us a reality, which is unusual for our senses. Actually he is a musician who tries to find the music of the body and the happening. In this way, dance and cinema seem to vocalize a harmony to the reality.  Documentary cinema is extremely confined between the borders as if "the truth" is one and unarguable and is trying to leak into life from these borders; and in my opinion, it is an art form, that realizes itself to the degree that it leaks into life. What Volkan Ergen does is perhaps approaching art and life as a whole, hearing life as an art. Perhaps. Because it is hard to define, hard to grasp, ambiguous, misty... Again and again. Life, life, life, life, life, hear and see, life, life, life, life, life, hear and feel, life, life, life, life...

Şevket Akıncı

Volkan Ergen’i yaklaşık 12 yıldır tanıyorum, sanat hep daha ne olabilir sorusunu soran bir insan kendisi. Uzun süredir kendisinin video işlerini de takip ediyorum, bir önceki kısa metraj filmini de izledim çok başarılı buldum. Volkan Ergen’in işlerini intermedia işleri olarak tarif edebilirim, iki öğe var ses ve görüntü, ancak bu iki unsur arasında hiyerarşi yok ve bence kendisi ses ve görüntüyü birbirinden bağımsız olarak düşünmüyor. Volkan Ergen’in işlerine baktığımda zihnimde ilk harekete geçen şey anlamak değil önce hissediyorum, bu bana Béla Tarr filmlerinde de oluyor. Bana göre Volkan Ergen bir ressam, resmi zamansal bir sanata dönüştüren bir ressam. Resimde de sinemada da beni en çok ilgilendiren şey kurgusundan önce, görüntülerin yapısal bir şekilde tertiplenmesinden önce, yüzeyidir, biçimidir. Örneğin bestecilerin - kendisi de besteci bu arada - yüzeyi bir tür kuruntudur, ancak bu kuruntunun içine gerçek bir şey yerleştirir: ses. Bunu Volkan Ergen yapıyor zaten, ressamın yüzeyi ise gerçektir o gerçeğin içine kuruntu yerleştirir. Volkan bunu da yapıyor, Aristo’nun önerdiği bir şey vardır “imge olarak zaman”. İşte görsel sanatların araştırdığı ve işitsel sanatların aslında ihmal ettiği bir kavram bu. Volkan Ergen yapısal olmayan bir zamanla ilgileniyor, saniyelerin dakikaların hapsettiği bir zamanla değil. Vahşi bir hayvanın yağmur ormanındaki haliyle ve nasıl yaşadığıyla ilgileniyor, hayvanat bahçesindeki haliyle değil. Bu beni çok etkiliyor. Yüzey kurgudan daha değerli olduğu için onun eserlerinde zamanlama çok ilgilendirmiyor beni (Hollywood filmlerinin çoğu zamanlamayla ilgilidir tabiki çok güzel eserler söz konusu Hitchcok'tan Billy Wilder'a kadar). Volkan Ergen psikolojik bir zaman yaratıyor ontolojik bir zaman kullanarak. Doğru bir zamanlama önemlidir ama bir çok videosunda hissettiğim zamanlamayı dışlamasıdır. Çünkü müzikte ve sinemada zamanlama bizi sıkıntıdan kurtaran bir şey. Béla Tarr’ın Satantango filmini düşündüğümde bizi sıkıntıdan kurtaran bir şey yok, çok uzun sekanslar söz konusu, bir saatlik bir sekansta bir adamın çöküşünü gösteriyor, bizi tam da anksiyetenin içine sokuyor. Oysa kurgu bizi anksiyeteden kurtarıyor bir şekilde, zamanlama kurgu ve yapısallık, bir de Volkan Ergen’in filmlerinde poz yok, pozların yerini bence kesitler alıyor, bir akış var ama bu akışın kendisi kesiti oluşturuyor. Ergen’in filmleri gittikçe daha çok ilgimi çekiyor çünkü hep bir süprizle karşılaşıyorum ve bende sanat daha ne olabiliri düşünüyor ve savunuyorum. Bu yüzden Volkan Ergen’e destek verin derim.

I've known him for nearly 12 years, he always asks what more art can be. I also follow his video works for a long time, watched his short film and I found it very successful. I can describe Volkan Ergen’s work as intermedia works; there are two elements: sound and image, but there is no hierarchy between these two elements and in my opinion he doesn't think of sound and image independently. When I watch Volkan Ergen's work, the first thing that start to move in my mind is not to understand, firstly I feel, the same thing happens to me in Béla Tarr's films too. In my opinion Volkan Ergen is a painter, a painter who transforms the picture to a temporal art. In painting and cinema what interest me most is before fiction and before editing of the images structurally, is its surface, form. For example, the surfaces of the composers –by the way he is a composer  as well- are a kind of illusion, just the composer place a real thing into this illusion: sound. Volkan Ergen already does this,

In the case painting, the surface of the painter is real, the painter places the illusion into this reality. Volkan also does this, There is something that Aristotle suggests: "time as an image". Here, this is a concept which visual arts search for and actually audial arts neglect. Volkan Ergen is interested in a non-structural time, not a time imprisoned by seconds or minutes. He is interested in the state of a wild animal in the rainforest and how it lives, not its state in a zoo. This is intriguing to me. Timing is not interesting me so much in his works, because the surface is more precious then the editing (most of the Hollywood films are all about timing, of course, there are very good works from Hitchcok to Billy Wilder). Volkan Ergen creates a physiological time by using an ontological time. Right timing is important but what I have felt in most of his films is that he excludes timing entirely. Because in music and cinema, timing is what saves us from uneasiness. When I think about Béla Tarrs Satantango, there is nothing that saves us from uneasiness, there are very long sequences, he shows us the falling of a man in a one-hour sequence, he puts us right into the anxiety. However fiction saves us from anxiety in some way, timing, fiction and structurality. Additionally, there is no posing in Volkan Ergen's films, in my opinion sections replace the poses, there is a flow but this flow itself constitutes the section. I am increasingly interested in Ergen’s films, because I always encounter with a surprise and I also think and defend what more art can be. That’s why I say give support to Volkan Ergen.

Ümit Ünal

Aslında anlatılması tanımlanması çok zor. Sizde tanımlanan bir karşılığı olması mümkün olmayan işlerin insanı Volkan Ergen. Filmlerinde her karekterin başka bir dünya tecrübesiyle, filmin içinde deneyimlediği başka anlatılara dönüştüğü. Her çalışmasında duruyor, duraksıyoruz. Yeni bir dil yaratıyor. Sözcüklerde karşılığı olmayan. Müziğin tınıların en özgür halleriyle başka bir evren yaratımına tanık oluyoruz. Hiç rastlamadığımız bir evresi var tüm izlediklerimizin. İşlerinde, kimlikler, mekanlar, hareketler, kostümler, derin koyu bir koreografiyle sıralanıyor. Fotograf, müzik, ritim ve enstalasyon filmlerinde tanımsız kimliklerle başkalaşıyor. Nerede başladığını ve nerede bittiğini o biliyor yalnızca, biz bir bölümüne tanık oluyoruz sahnenin. Anlamamızı istediği kadarıyla yetiniyoruz. Başka bir işle benzerlik kuramadığımız, her işiyle yeni bir deneyime tanık olduğumuz filmlerin yaratıcısı. Bir de cesur. Müthiş bir cesareti var işlerinin. Kaygıları olmadan yaratıyor. Büyük yaratımları var herbirimizin bir anında dahil olabileceği, algının tüm boyutlarını zorladığımız. Böylesi yaratımlara “deneysel” tanımı en kolay yaklaşım olabilir ama yanılgı yaratır bu yaklaşım, çünkü niteliği deneysel değil, alışılmadık derinlikte olgun; her anı her karesi hesaplanmış  ölçümlenmiş işler bunlar. Her izleyenin başka sonuçlar çıkardığı ya da çıkaramadığı, duraksadığı işlerin yaratıcısı.

Actually it is hard to talk about and to define. Volkan Ergen is a person of such works whose definition you do not have. In his films each character with their own life experiences, transform into another story through their experience within the film,. In his every work, we stop, hesitate. He creates a new language. No provision in words. We witness a creation of another cosmos with the free versions of music and resonance. There is a phase that we never encounter before in what we have watched. In his works, identities, spaces, movements, costumes, all are line up with a deep dark choreography. Photograph, music, rhythm and installation alter with the undefined identities in his films. Only he knows where it starts and ends, we just witness to a section of the scene. We content ourselves as far as he wants us to understand. He is the creator of the films, which we can not compare with the other works and we witness to new experiences with each of his works. He is also brave. His works have magnificent courage. He creates without anxiety. He has big creations in which we can be included for an instant and force all dimensions of perception. The easiest approach would be to call this kind of creation as "experimental", but this approach causes misconceptions, because the quality of his creations is not experimental, rather mature in unusual depth; every moment, every frame are calculated and scaled. Creator of the works in which each audience makes different inferences or cannot make one at all, or hesitate.

MADATAC_ The Acontemporary New Media & Audio-Visual Arts International Festival

We are pleased to indicate that we know directly the artistic trajectory and video works of Volkan Ergen, and can vouch for his creative qualities and high spirit of personal improvement. Hereby, we extend this recommendation of Volkan Ergen for his new project, in knowledge of the rigor, talent and commitment that characterizes his professional and artistic approach.

Volkan Ergen'in sanatsal gidişatını ve videolarını doğrudan bildiğimizi memnuniyetle belirtmek isteriz ve onun yaratıcı niteliklerine ve yüksek ruhlu kişisel gelişimine kefil oluyoruz. Bu vesile ile, onun profosyonel ve sanatsal yaklaşımının simgeleri olan özen, yetenek ve sorumluluğun bilgisiyle Volkan Ergen'in yeni projesi için bu tavsiyemizi sunuyoruz.  

Vincent Moon

For years I have been following the work of Volkan Ergen, as I considered him early on one of the most interesting visual artists expanding its realm using internet and the digital technologies. What I always found shaking, perturbing almost, in its films and soundscapes, was the deeply organically integrated presence of the soul inside the machine, this pulsating thing that words can't describe, drawing into the invisible some lines to escape. Escape but not hide - it's all about a reconfiguration of the myth, a rephrasing of what's reality about. Volkan Ergen's films and poetical researches are not only making us rethink our perception of the world, they are pushing us to feel it entirely differently, extending the body to other realms, spiritual and digital all in one..

Volkan Ergen'in işlerini yıllardır takip ediyorum, ilk başlarda onu internet ve dijital teknolojileri kullanarak alanını genişleten en ilginç görsel sanatçılardan biri olarak gördüm. Filmlerinde ve ses düzeninde her zaman en sarsıcı ve nerdeyse tedirgin edici bulduğum: son derece organik olarak bütünleşmiş, makinenin içindeki ruhun mevcudiyetidir. Bu titreşimli şeyi kelimeler tarif edemez, kaçmak için görünmez bazı çizgilerin içine girmek gibi. Kaçmak fakat saklanmak değil - sadece mitin yeniden yapılandırılması meselesi, gerçekliğin ne hakkında olduğunun başka bir ifadesi. Volkan Ergen'in filmleri ve şiirsel araştırmaları bizim sadece dünya algımızı yeniden düşünmemizi sağlamakla kalmıyor, bizi tümüyle farklı hissetmeye itiyorlar, bedenimizi başka alemlere genişletiyor, hem manevi hem de dijital olarak.

New set released. The alchemist.

Otra entrada rápida para una actualización de ilustraciones.

Este set se llama Faust el Alquimista, para Legend of the Cryptids.

Traté de explorar diferentes paletas de colores para estas piezas. Y aunque con la versión Regular no me salí mucho de lo que suelo hacer, creo, que con el Advance logré obtener una armonía de color interesante con colores completamente aliens (para mí) Fue un experimento divertido y definitivamente voy a intentar más cosas fuera de mi zona de confort. Déjame saber lo que piensas de las piezas en los comentarios. ¡Nos leemos!

Another quick entry for an art update. 

This set is call Faust the Alchemist, for Legend of the Cryptids.

I tried to explore different color palettes for these pieces. Thoug the regular is in line with what I usually do I think, that with the Advance I did manage to get a cool color armony with these complete alien colors (for me at least) It was a fun experiment and I'm definitely will try more stuffs out of my comfort zone. Let me know what you think of the pieces in the comments. See you around!

🔔Happy Wedding🔔

HAPPY BIRTHDAY KAVEH

I LOVE YOU SO MUCH

Kaveh ✨️yassified✨️

Or desert prince(ss) Kaveh

HE 🏛

⚠️KEEP OUT⚠️

GENSHIN INKTOBER 2021

Day 2 - Current Main

Kazuha's so cute you guys.

Plus he's my first C1 5 star so he's extra special to me uwu

Louis James Moriarty lives in my head rent free.

GENSHIN INKTOBER 2021

Day 17: Villain

Rosalyn Kruzchka-Lohefalter

La Signora

Tales Fest 2021 Snow man--dog--Repede.

I love two (2) men.

Finished Arise the other day!

Dohalim kinda pretty really cool