Triple translation in images of sensitive interpretations, words and ideas. The dream provides us with a new and completely subjective reinterpretation of reality. The known deforms and mingles in the unconscious interpretation of memories. These recollections of everyday life: sight, smell, touch, sound and even thought is translated in dream by a flood of images organized in time inconsistent with contents close to unintelligible.
The dream is not absurd, it is based on mechanisms that elude us. In waking, thought is disturbed. It tries to unite fragments, to fix colors, impressions and everything already slipped away. Eda Emirdag uses these remains to compose her images. By concentrating on a single scene, she intensifies memory and makes it manifestly pictorial and narrative. As in dream, light plays a vital lead role. It is the path towards an attempt of narrative. It penetrates in improbable ways to advance a character, a place, an object.
She creates surreal shades and details the importance attached to the story: a deep blue invades an overcast sky. Red bleeds on a face, one other task in the thick curtain gradation. In the photos of Eda Emirdag several images overlap, join to add strangeness in the trace of a memory. A window opens on a sofa, a tiled floor is laid vertically near a wall whose existence has not been proven, texts are superimposed on a face or a naked body.
These texts are those of the Turkish singer and poet UmayUmay, the one to whom Eda has dedicated her entire production. In Turkish shaman mythology, Umay is the goddess of the earth and fertility. The name means placenta. It is rather interesting to know that she was one of first to be believed by this young photographer and to encourage her. Eda Emirdag came to photography following a heartbreak. To take away her her pain, her mother offered her a camera.
Eda began photographing everything and anything : a stone in the street, a scene of a film, the left eye of a man ... Then she met Umay and the latter offered her a new device, urged her to become herself. Surrounded by sympathetic women, Eda draws her creative strength from women who inspire her. "I look at the world through their perspective" she says. They are present everywhere: in the embrasure of a door, lying on a table, a bench or a bed, folded in on themselves in confined places and what is puzzling is that they are without faces. "I take the faces of my models if I want to bring it to light. I am not a portrait photographer. The position of the body interests me in what it expresses, a face says things completely different."
The stories that these bodies tell are similar to the mysteries of a dream. The literal does not interest her. The symbolism of their positions rests in a more abstract strata. The images of Eda Emirdag communicate with the unconscious of us all. The feeling is transmitted without a need for translation. The same applies to the titles she gives to her images. Maybe it would be interesting to know the original title in Turkish but the english translation sometimes adds a mysterious charm to the interpretation of these surprising pictures. "It's the same in any language", "If you wake up, we'll cry", "Crystal Cinema"... Made from a mechanical process, chemically, and sometimes modified by the computer, this image bank taken from the unconscious of this young photographer is a delight both for the thought and for the senses. Eda tells us that we met her quite early. We are happy to have discovered her at this moment and we await with enjoyment her future maturity.
"At the most dreamless places of their hearts
I stood aghast in all of a sudden
I'm the evil one, who's name is virtue?
I insert the wind inside of me by a knife,
And say I'll get better.
I say, I'm sickened with making love on the broken glasses.
I say, I was looking for few pain, i was drinking my own blood.
And i don't have a father too."