The White Columns Curated Artist Registry
is an online platform for emerging and under-recognized artists to share images and information about their respective practices. The Registry seeks to create a context for artists who have yet to benefit from wider critical, curatorial or commercial support. To be eligible, artists cannot be affiliated with a commercial gallery in New York City.
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STATEMENT OF WORK
Rehan Miskci is a visual artist working with photography, video and installation. Given her background as an Istanbulite Armenian, she has always been familiar with notions of historical conflict, displacement and erosion of cultural identity. Therefore her practice forms an area between two and three dimensional reinterpretation of various photographic archetypes, whether it's personal albums or materials from the public sphere, she is interested in how they are re-contextualized through the juxtaposition of personal and collective memory.
She has produced works regarding the connection between the history of Studio Photography and the Armenian identity and first she started with the series ‘Void’ where she was focused on the archive of Turkey’s first woman studio photographer, Maryam Sahinyan, and reinterpreted her space and transferred original figures into an abstracted studio setting. Then came 'Foto Yeraz', an extension of her quest for new meanings in the field. Foto Yeraz is a fictitious and vacant photo studio, where figures are absent, but spatial elements, such as large scale backdrops and props, still continue to exist, in fact they convert from serving as objects and start acting as subjects instead.
Pursuing this interest of making spatial objects into subjects, 'A Personal Archeology / Substitutes for Home' is an ongoing investigation in order to explore the notion of the fragment and its implications in relation to spatial memory. Similar to a minority identity experience, a fragment indicates a great deal of absence with its mere presence. 'Content Continent' consists of large pigment prints that play with the idea of spatial memory by shifting the scale of scanned floor pieces. The work aims to reverse layers of discovery, change the order of the gaze and applies a reverse archeology on mundane objects. By creating fictional spaces for undermined and neglected moments, she aims to document the unseen and inhabit that space with alternative realities, and meanwhile looking into ways in which how photography and physical space interact.