Gods of Latmos (working title) is a multi-disciplinary art project studying the rock formations and prehistoric rock paintings of Latmos mountain in correlation with recent mining activities in the area. Building upon the foundation laid by my previous project, Iwakura, which explored revered rocks in Japanese Shinto mythology, this series aims to reinvigorate humanity's connection with nature through the integration of modern scientific and technological advancements with ancestral wisdom.

The Latmos mountain (Turkish: Beşparmak) is located on the eastern shores of Lake Bafa in south-west of Turkey and represents one the most impressive landscapes and archaeological abundance on the Aegean littoral. It is part of the Menderes-Massif, one of the oldest massifs in Anatolia. Structurally it consists of highly metamorphic and pre-Cambrian rock, granite and augen gneiss. The 8,000-year-old rock paintings found by German archeologist Anneliese Peschlow-Bindokat in 1994 in the area are among the great new discoveries of prehistoric archaeology in the past decades. In contrast to the Ice Age Franco-Cantabrian cave paintings in western Europe, the main subject of the Latmic imagery is the human being as a member of a community and as a pair. There is a noticeable predominance of female figures. Scenes of violence are absent. These rock paintings convey an impression of vivacity and contentment to the viewer. The harmonious integration of paintings into the vibrant geological features of the rock formations is stunning.

Apparently, the region's wealth of geological formations and historical significance is mirrored in its abundant mineral resources as well. As a result, mining companies are now encroaching upon this land with a different agenda. For several decades, feldspar, a mineral that is used for production of ceramics, glass, and sanitary installations, has been quarried in the Beşparmak.  This fascinating rock landscape, along with the art created on it by our ancestors, now faces imminent destruction at the hands of their civilized descendants, who view these rocks solely through the lens of their economic value as mineral deposits.

The documentation and systematic study of these Latmos rock paintings are a part of the fieldwork in this region that has been conducted for many years in the name of the German Archaeological Institute (DAI). The work was carried out with the approval granted by the Turkish Ministry of Culture and supported by the German Research Association (DFG) and the Gerda Henkel Foundation. However, all efforts undertaken thus far to save this natural and cultural heritage by applications for declaring the region as a historical national park or entering it in the List of World Heritage of the UNESCO have been unsuccessful.

In an effort to introduce the rock paintings of Latmos to a broader audience, the German Archaeological Institute conceptualized a touring exhibition. The exhibition premiered in Berlin in 2003 and was subsequently brought to Turkey with the generous support of the Vehbi Koç Foundation and exhibited in Sadberk Hanım Museum in 2006. The exhibition book stands as a valuable reference on the subject matter. The content of the exhibition ultimately found its permanent home in the museum of the University of Muğla, where its potential to reach a wider audience remains severely limited.

I began working with rock forms as a visual artist in 2016, driven purely by intuition and a figurative approach. After a period of exploring digital imagery, I felt a deep urge to look back into nature. This adventure took the next step through my dialogue and collaboration with the Japanese musician Kazuya Nagaya when he introduced me to ancient Japanese mythology. According to these myths, spirits dwell in certain rock formations called Iwakura. These rocks are worshipped up to this day. This has inspired me to continue my work based on rocks in Japan around this theme. With Nagaya, we have created an audio-visual experience for the full-dome (planetarium) format. The project was supported by the Goethe-Institut International Co-Production Fund, Miraikan-The National Museum of Emerging Science and Innovation and Mutek JP.

One of the challenges I faced while working on the Iwakura project was determining how to position myself as an artist in relation to this magnificent and sacred material. While delving into its traditional aspects, the way rocks percieved in Japanese culture, I also studied contemporary philosophical concepts such as New Materialism and Object Oriented Ontology. My primary theoretical inspiration stemmed from the works of Elizabeth A. Povinelli. These frameworks allowed me to explore the intrinsic value and agency of the rocks in new ways. Technically, I employed cutting-edge AI tools with a critical approach, aiming to capture and convey the innate liveliness and intelligence of these geological formations.

Latmos is the ground where my artistic engagement with rock forms are now evolving by connecting my theoretical, technical and visual explorations with archeological, ecological, political and economic aspects of the matter. It stands as an 8,000-year-old testament to how artists have engaged with rock, offering an ancestral legacy to explore, study, and learn from. Yet, it also poses a challenge: Can I, as a contemporary artist, creatively grapple with this material to produce a work that not only resonates artistically but also contributes to the promotion and protection of this singular cultural heritage of mankind? I believe art has the power to mediate such progress. Some of the mining companies active in the area are owned by families who are also investing in archeology and modern art in Turkey. This could be seen as a neocolonial act of ongoing land exploitation within the liberal Western meta-narrative of progress, funneling of profits from resource extraction into the museum and cultural industries. Nevertheless, I view this as an opportunity for dialogue, and aim at creating a contemporary art piece which stimulates discussions on this intersection of cultural heritage, environmental preservation, and economic development. This project is aiming to embrace the concept of a ‘global intelligence' transcending human-centric perspectives to cultivate a sustainable and harmonious future.

I have initiated my exploration in the region in 2023, utilizing my personal resources and connecting with local communities such as Latmos Platformu, Latmos'u Koru and Ekodosd. I have received the 2024 Research Grant from The Senate Department for Culture and Europe, Berlin, in order to develop the project. First iteration of Gods of Latmos is commissioned by Staatliche Kunsthalle Baden-Baden in Germany for the exhibition "Sea & Fog" curated by Çağla Ilk, Misal Adnan Yıldız and Sandeep Sodhi (08.11.2024–26.01.2025).
Two photo prints showing Balıktaş Cave Paintings and Karakaya Open-pit Mining Field were placed side-by-side, together with The Hollow audio-video installation, with sound design by Daniela Huerta.

The Hollow audio-video installation takes inspiration from the altar in front of the Karadere cave.
Formally, The Hollow also resembles the lakes created in the Karakaya open-pit mining field near the Karadere cave. 

Since prehistoric times Latmos was a sacred mountain in Anatolia. Upon its peak the old Anatolian weather god was worshipped. Karadere cave in Latmos has a striking depiction interpreted as the personification of the weather god. This symbol has a very strong allegorical connotation in these times of climate crisis. This cave is protected by no means and now there are open-pit mining fields few meters away from it. The massive destruction is ongoing and there’s no time to wait. The pollution our civilization has generated is blocking our senses, we can’t communicate with nature anymore, but The Weather God of Latmos is calling!