Six Foot Gallery is delighted to present its annual Summer Show, featuring thirty-four artists working in a diverse range of mediums and disciplines.

Beren Sekerci is a photographer based in Edinburgh, Scotland. Originally from Turkey, her creative processes are inspired by the often overlooked and mundane lives of the people she meets along the way. She appreciates the authenticity in people’s everyday lives and on the street. Beren combines documentary photography and storytelling in her work. Some of her recent work from the series Tales from the Turkish Aegean was featured in the Stirling Photography Festival; the series was about her journey through the vivid towns on the Aegean coast of Turkey, where she took the audience through the stories of both humans and animals she encountered in her travels.

Beren is currently a PhD student at the University of Edinburgh, and her research involves exploring the social dimensions of AI-enabled synthetic biology practices, such as biobots and biohybrid robotics.

Hi Beren! Can you elaborate on the significance or symbolism of the chosen title of your work?
I think the symbolism I tend to showcase through my work is by stating the known nuances and tensions in life. The photographs that are part of the exhibition now were taken at the same place within the same hour slot. This is why I love Hunter Square; it is a dynamic place. It is also a very good people-watching arena. In this specific line of work, the symbolism shows itself through the name of the piece: Living Mosaics. The people in these photos, despite their differences, come together to create a harmonious manifestation of the spirit of Edinburgh. To me, mosaics have a very unifying beauty about them. Even though the tiles could have different tones, textures, and shapes, when unified they represent something beautiful.

The title Living Mosaics comes as a reminiscence of the photography series project I did a while ago called Silhouettes of Edinburgh. I used to find excuses that I could not take photos because I didn’t have my camera with me all the time, but every day I would see scenes and interesting people I wanted to take photos of. For four months, I went about my day with a disposable film camera and I promised myself that I would not use the excuse of not having my camera with me. I approached people on the street who I found interesting and asked if I could take some photos of them with my camera. The series ended up featuring local characters, tourists, and many more. Some of the stories the people I asked to photograph have really stuck with me.

Whilst framing my works with terms like ‘mosaics’ and ‘silhouettes’ I am not attempting to downgrade the inherent individuality of the subjects of my photography. On the contrary, I use them as statements. To me, especially in the contemporary world, I fear that people have started to see everything and everyone as disposable and replaceable. I would like to draw attention to the beauty of the mundane, or things we might see as mundane, but which to another eye could be extraordinary. It is all a matter of perspective in the end, just like the art of photography is ☺.

What emotions or reactions do you hope viewers experience when they see your artwork?
As a big fan of ambience and atmospheric music, I always wanted to evoke curiosity and capture the surrounding ambience in my photography. I want viewers to be intrigued by the scene and the people I photograph. This is why I enjoy writing stories about how I came to capture the moment in my photographs. I want the audience to first engage with the work itself, allowing them to daydream or create their own narrative about the photo. Then, if they are interested, they can then read my story about how I captured the photo. I have a deep appreciation for different cultures and traditions, including the routines and traditions we create in our own daily lives. That is why I value the ordinary and I strive to photograph the mundane of everyday people’s lives.

What advice would you give to artists who are just starting out?
Maybe it is a bit of a clichéd response, but I recommend trying everything they can before knowing what is right for them. I tried various types of photography until I figured out which type touched my soul. Also, I benefited a lot of from looking at other people’s work. The more you look, the more your composition develops. I think there is a fermentation period when you first start out as a photographer. In this period, it is essential to expose yourself to a lot of different art forms. In the end creativity cannot happen in isolation.

A final piece of advice would be to stay humble. I think this could also be taken as general life advice as well. I am currently doing a PhD, which is a period of non-stop learning but at the same time constantly being humbled by the knowledge and creations of others. But, I also firmly believe that the people I meet along the way throughout my street photography journey have taught me where the other virtues are hidden in life, sometimes in the most unexpected places. In the end, photography to me is cultivating the art of noticing, whether it be scenes, humans or values.

What do you do to keep motivated and interested in your work?
I think I owe street photography a lot. When you start interacting with people and simply let them know that you are interested in them for who they are, this is how you get the most authentic results. I get highly motivated by people’s expressions changing from doubtful to feeling heard and curious when you ask them if you can take photographs of them. This glance could be one of my favourite sources of motivation, it warms my heart. I also love witnessing different people’s routines and discovering their passions. I get motivated when they make me walk through their crafts, passions, and daily routines. This is why I love working with elderly people; they tend to have an embracing patience that makes me feel grounded and at ease.

Another obvious way of getting motivated is travelling. If I want to take photos of a place I am visiting I prefer to solo travel there so I don’t waste anyone’s time, waiting for me to take the perfect shot for ages. I also like to immerse myself in the scene to get the most authentic shots, which can also be very time intensive.

How do you know when a piece is complete?
In an ironic way, I will know that a piece is complete before I even take a photo of it. Maybe it is a photographer thing, it is almost intuitive. If the scene is right and interesting, I already know I will not leave until I am happy with the shots I have taken anyway.

Personally, I don’t believe post-production could save a photograph I took if it is not composed properly in the moment I took the photo. At least, from a personal satisfaction level, I know it does not work for my work. Post-production could enhance it, but it cannot really save a badly composed photograph.

Will your next project be a continuation of your current style or are you experimenting with something different? Can you share a glimpse of your next project?
I want to start focusing more on documentary photography. I am planning to do a photo series on old craftsmen and forgotten heritage crafts such as copper smithing, carpet weaving, and hopefully many more. 

I also have a plan of creating an exhibition where I attempt to create a multi-sensory experience for the audience, where every photography of mine is accompanied by a different set of smells. If possible, I would like to distil these smells myself, to create the smell of the place where I took the photos of, or maybe the smell I think should accompany the piece I am presenting.

You can find out more about Beren and her work on Instagram @here_be__dragons. Our Summer Open Call Exhibition runs at Six Foot Gallery until Friday 23rd August.