Deniz Uster
  • Deniz Uster
  • work
    • lens-based >
      • Homo-Scylla
      • The Polity of Φ promotional video
      • Beyond is Before
      • 69
      • Being an Ear Guest to a Gossip
      • Prelude
    • space-based >
      • The South, The Ore and Them
      • Arbor Vitae
      • Seven Minutes
      • Echoes of a Common Skin
      • Toxodon: What Went Unnoticed
      • Temple of Hydra, Physalia Physalis and Moving Towards Ctenephora
      • The Poetics of Egress
      • The Woeful Fable of the Gangue
      • Domes of TERRA NULLIUS
      • The Anatomy of Floating
      • Dust and Entanglements Beneath the Skin
      • Citadel (Bricolages)
      • Citadel
      • The Polity of Φ: The Consulate
      • The Polity of Φ: The Call
      • Beyond is Before installation
      • The Spine That Binds Us Together
      • Folly for the Short-Lived
      • Türgen Culture and Heritage
      • Somewhere in the Middle of Two, Southwest of One and North of The Other
      • Looking For a Needle in a Hay-Barn With No Eyes and No Hands
      • Invited and Volunteered
      • In the Memory of Four
      • Finger to a Blind Eye
      • Hide the Straw, Wait for its Time
      • Egg Washing Machine
      • A Machine or an Ifrit
      • Said and Put
    • paper-based >
      • Ignition and Confluence: The River of Us
      • T E R R A - N U L L I U S: Harvesting Gravity
      • Zones of Protention
  • info
    • statement
    • cv
    • contact
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Deniz Uster (b.1981-Istanbul) is a Glasgow-based multidisciplinary artist/researcher previously presented at ICA (London), CCA (Glasgow), !f Istanbul Independent Film Festival, and Sabanci Museum (Istanbul), amongst others. She received awards and commissions internationally towards residencies and production of new work, and exhibited in South Korea, UAE, Hong Kong, Ireland, France, Netherlands, Turkey, UK, Italy, Chile, Azerbaijan, Finland and Germany.

Spanning across geological and scientific inquiry, Deniz Uster’s art practice is permeated by anthropological and historical research to form pluralistic social narratives, using science fiction as her primary discipline. A fictional shift in nature within these ‘filmic’ narratives forms the foundation for alternative social structures, cultures, economic systems, futures and histories.

Uster playfully creates ethical conundrums, particularly within the context of space exploration where justice beyond life on Earth is the central debate. The ambivalence these ethical conundrums trigger, reveals the performative aspect of her work. She invites us to imagine a collectivity that exceeds multispecies approaches; to include not only microorganisms but also elements and forces, from water to minerals. Hence materials and processes convey particular importance in Uster’s work.

To incorporate into her sculptures and films, Uster often pursues specific objects and materials through her research which bear certain histories. These objects range from dropped leaves of a tree grown while in orbit on the Moon, to rocks NASA sampled due to their resemblance to the geology of Mars; from dust gathered following two explosions in a Glasgow factory, to waste collected for its war-time memory retained within… These objects are then layered and included in the artist's narrative.

Uster has also developed special techniques borrowing materials from the construction industry merged with traditional crafts methods. She continues to create cinematic speculative-fiction narratives through miniature dioramas, installations, films, drawings and sculptural headpieces under the brand name O T H E R S C A P E S.

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