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The phenomenon of dispersion, wherein light of varying wavelengths diverges by distinct degrees during refraction, culminates in the separation of white light into its constituent colors—red, orange, yellow, green, blue, indigo, and violet—each manifesting a nuanced angle of refraction. This natural spectacle finds its epitome in the iconic formation of the rainbow, where sunlight, penetrating a raindrop, undergoes refraction upon transitioning from air to the denser medium of water, initiating a graceful arc within the droplet.

My artistic journey commenced with the intention of orchestrating a diverse array of rainbows and light dispersion phenomena. Employing a microscope camera and an assortment of optical glass, I meticulously capture these ethereal refractions at their microcosmic dimensions. As light traverses into denser mediums at an oblique angle, its velocity modulation precipitates the bending, or redirection, of the light wavefront—a captivating phenomenon we perceive as refraction. The resultant images serve as tangible manifestations of these empirical explorations.

The “Path of Light” series serves as a performance piece, beckoning the viewer to engage with the physical interplay of color and form, capturing visuals that blur the boundaries between art and light. At the heart of my contemporary art practice lies a deliberate positioning of light as the focal point. I harness light as a medium that facilitates introspection for the audience.

Within this series, elements such as crystals, planktons, enigmatic human cell structures, and depictions of biological activity converge to form hybrid compositions. These compositions serve as both reflections and embodiments of form and light. The allure of these pieces lies in the interplay between transparency and vibrancy of color, often juxtaposed with unfamiliar forms.

These artworks pivot on the interaction of materials, forging connections between form and color, light and shadow, as well as spatial and temporal dimensions. They delve into various phenomenological aspects and semantic implications. In the essence of my creations, light and color manifest as an ethos, enabling the transcendence of boundaries that constrain the physical and sensory experiences of the audience.

Spheres are reminiscent of cells, the minuscule building blocks that form the human body. Cells are the smallest components that represent life in our bodies.

The idea behind of the exhibition came about during my interactions with the Histopathology Laboratory of IRB Barcelona (Institute of Research in Biomedicine). The scientists were observing samples taken from healthy and unhealthy tissues (such as liver, eye, skin or lung) under the microscope. Visual differences between healthy and unhealthy tissues allow researchers to understand disease. This can be likened at my artwork, which relies on visual representations. The exhibition focuses mainly on the visually distinctive forms of these tissues. I adapted my observations in order to produce large-scale stained glass paintings. The work makes the “invisible” parts of the human body (the cells) “visible” and invite the audience to experience human cell structures on a large scale with the use of daylight.

The exhibition was held in the Operation Room of Recinte Modernista Sant Pau which boasts huge panes of glass that once allowed daylight to flood in while surgery was undertaken. Sant Pau is hospital complex that is today partly an Art Nouveau Site. The paintings were placed against the windows of the Operation Room. The site-specific installation is the contemporary interpretation of “stained glass (vitrail)” art that goes well with the Catalan Modernist spirit of the Pavillion. The spirit of being luminous, bright, absolutely full of light. The installation relies on daylight, as did the Operation Room back in the old days. The colors of the paintings will change depending on the intensity of the daylight outside.

This project is the result of the Suter`s collaboration with IRB Barcelona as an Artist in Resident that Süter carried out during 2018, and she was selected to be the only official Artist in Residence at IRB Barcelona. Quo Artis Foundation is one of the members of the jury for this residency program, and the curator of Ayşe Gül Süter`s solo show “Microspheres”. The project was also supported by Turkish Cultural Foundation and Barcelona Turkish Consulate General.

Photos © Pere Virgill

Spheres are reminiscent of cells, the minuscule building blocks that form the human body. Cells are the smallest components that represent life in our bodies.

The idea behind of the exhibition came about during my interactions with the Histopathology Laboratory of IRB Barcelona (Institute of Research in Biomedicine). The scientists were observing samples taken from healthy and unhealthy tissues (such as liver, eye, skin or lung) under the microscope. Visual differences between healthy and unhealthy tissues allow researchers to understand disease. This can be likened at my artwork, which relies on visual representations. The exhibition focuses mainly on the visually distinctive forms of these tissues. I adapted my observations in order to produce large-scale stained glass paintings. The work makes the “invisible” parts of the human body (the cells) “visible” and invite the audience to experience human cell structures on a large scale with the use of daylight.

In recent years, I’ve had the privilege of being invited as an artist in residence to various science labs. There, I’ve had the opportunity to witness scientists conduct experiments, particularly focusing on crystallization techniques. When we think of crystals, we often envision shiny, dazzling rocks or gems. However, the forms of crystals are incredibly diverse; they can even be found within our own bodies. Whether observing ice crystals, glaciers, seaside formations, teardrops, sweat, or the salt in our kitchens, they all exude a natural brilliance in their perfectly shaped structures.

My fascination with crystals began as a personal pursuit, growing them for my own pleasure, until I began integrating them into my artwork. During the lockdown period at the onset of 2020, I cultivated another batch of crystals. With ample time spent at home, I meticulously provided them with the ideal conditions of lightness, darkness, heat, and tranquility. Subsequently, I photographed these crystals under a microscope and/or macro lens camera.

The colors captured in these images are not merely visual representations; they encapsulate the essence and emotions of the crystals themselves. As sunlight refracts through them, dispersing rainbow hues, I meticulously adjust the lighting of my microscope to capture these evocative colors. Through this artistic process, I aim to delve into the intricate beauty and emotional resonance of crystals, bridging the realms of science and art.

In recent years, I’ve had the privilege of being invited as an artist in residence to various science labs. There, I’ve had the opportunity to witness scientists conduct experiments, particularly focusing on crystallization techniques. When we think of crystals, we often envision shiny, dazzling rocks or gems. However, the forms of crystals are incredibly diverse; they can even be found within our own bodies. Whether observing ice crystals, glaciers, seaside formations, teardrops, sweat, or the salt in our kitchens, they all exude a natural brilliance in their perfectly shaped structures.

My fascination with crystals began as a personal pursuit, growing them for my own pleasure, until I began integrating them into my artwork. During the lockdown period at the onset of 2020, I cultivated another batch of crystals. With ample time spent at home, I meticulously provided them with the ideal conditions of lightness, darkness, heat, and tranquility. Subsequently, I photographed these crystals under a microscope and/or macro lens camera.

The colors captured in these images are not merely visual representations; they encapsulate the essence and emotions of the crystals themselves. As sunlight refracts through them, dispersing rainbow hues, I meticulously adjust the lighting of my microscope to capture these evocative colors. Through this artistic process, I aim to delve into the intricate beauty and emotional resonance of crystals, bridging the realms of science and art.

The initial idea behind this series took the form of questions such as “How can interactivity could be designed without using any software, optical detectors, or touch-operated apparatuses?”Interactivity is not merely an optical game, but an experience that enables visitors to grasp the relationship they have with world and objects in it through their own body. Our own distorted body image appearing on the mirrors shows us the significance of both our inner experience of perceiving the world and objects in it and also the importance of our location in space.

Crying is an exocrine process, that is, a process in which a substance comes out of the body. Other exocrine processes, like exhaling, urinating, defecating and sweating, release toxic substances from the body. There’s every reason to think crying and sweating release chemicals that the body produces in response to stress. Most of the time we feel better after crying or sweating.

In most eastern cultures, men are taught not to express their emotions. Collecting the teardrops of men, dehydrating tears on petri dishes and photographing them under microscope led me to create these artworks. That proved to men that they can create those beautiful artworks by simply crying, expressing their emotions.

After sweating, thanks to the vaporous fluid, we can witness crystals in our bodies. These crystals are produced in response to our body after our emotional or physical activity. They are instinctive behaviours. We sometimes suppress this innate behaviour for many reasons.

Would that be possible to reduce the rate of stress-related illnesses by means of this relief; crying?