In Epicentre of COVID-19

F.Dilek Uyar

Introduction

Since World War II we have not encountered any other important events affecting the whole world so much. The first images from China were terrible. We watched like watching movies from afar. Then we all became actors of this vague and dystopic science fiction movie and we got into it. The countries closed their borders, the economy was hit hard, people became unable to leave their homes. Strangely, everything in the world changed suddenly because of a virus.

The biggest difficulty was experienced in hospitals without any doubt. I love being close to events and people that interest me as characters. For this reason, while I want to photograph Covid19, it is not for me to photograph from a distance, as I usually see. If I was going to shoot, I had to get into the closest. This was much more difficult because it would both activate the permitting process from all patients and pull me to the heart of the risk, but it had to be tried. I am married and have two children. It was therefore not easy to decide to enter Covid19 intensive care. I believe that” I can’t change history but I can show it”. This is why I spent 29 days in intensive care.

In general, we see that the events that focus on the moment in documentary photography are away from aesthetic anxiety. But unlike the general one, I also wanted to show that aesthetic photographs can be taken in documentary photography, albeit difficult. The way to do that was to be invisible and not in a hurry by spending a long time there. I have to photograph them without haste. So I stay 29 days in the hospital. I observe them. They got used to me and I start to be invisible to those there. This series consists of the photographs I took during that time.

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