Fragile Life, Fertile Death: Commonalities Between The Bird Is Unseen, Yet Its Voice Is In The Tree and YerKuşAğı

This article follows the commonalities of Eda Gecikmez’s exhibition The Bird is Unseen, Yet Its Voice is in the Tree and Deniz Gezgin’s novel YerKuşAğı and weaves together the stories of two different worlds. It aims to show how Eda Gecikmez’s images, independent of her own story, also have the power to portray the world of Deniz Gezgin’s novel, and how the aesthetic spaces of both works, shaped against the language of war and hunting, share a similar structure of feeling. While Eda Gecikmez pursues the question of whether “an extremely complex story that carries the burden of a long history can be unraveled by tracing lost people or animals or lost objects”, Deniz Gezgin asks whether there is a way to exist within an anthropocentric world where “even the dead lose their lives”. This article searches for answers to these questions in the realm of possibilities offered by the aesthetic spaces of works where water sounds and wing shadows intertwine.