Nida Erdogan, Birds Series No:8, Wallet on Paper, 21 x 29.7 cm 2022

The structure named "no:8“, which is a part of the artist's 21-part work that carries the beginning of the ”Birds Series", is a description centered on the dead bird beds. This series has emerged as a visual reflection of the bird phobia that developed as a result of a trauma experienced by the artist in childhood. The artist can depict birds only with lifeless, cold and motionless ones; these representations bear the imprint of a subconscious reckoning.

A drawing of him, while the track of the destructiveness of human nature, becomes the object of a metaphorical narrative dead bodies. These bodies alone in a lost creature, but not its destruction is also the record of the witness. The black figures throughout history on display evoking the bodies of these representations, in izlenici Jun evokes a sense of the uncanny.

Over time, this production process, the death of the artist, the uncanny and the deepening relationship with the concepts of memento mori have evolved. This search, which started with a personal experience, has Deconstructed into a quiet but powerful explanation born of trauma, cutting through the universal and historical.

The "empty nest" text in the series is at the center of this explanation. This nest, in which there is no living thing, contains the need for a birth, something that has not yet been realized. There is no empty incompleteness here; it is determined as a field of possibilities.

The artist's work No. 8 of the 21-piece series entitled Birds focuses on the depictions of dead bird corpses. The series appeared as a visual expression of the bird phobia that developed in the artist's childhood after a traumatic experience. The artist could only portray birds in their lifeless, cold and motionless state - an expression that reflects a deeper subconscious confrontation.

Each drawing in the series traces the roots of human destructiveness, transforming dead bodies into metaphorical figures. These forms testify not only to the extinction of a living being, but also to the permanent memory of its erasure. Like the historical display of the corpses of political figures, these images evoke an uncanny sense of Junkiness in the viewer with the exhibition of those who have been eliminated.

Over time, this production process evolved into a deeper interaction with the themes of death, the mysterious and memento mori. What began as a personal reckoning gradually turned into a universal and historical investigation, giving way to a quiet but resonant narrative shaped by personal trauma.

The image of the “empty nest” stands out Decently as a central metaphor among the works. The nest, devoid of any living presence, still has the potential for childbirth - a sense of what could have been. Here, the gap is not a deficiency, but a field of possibility.

 CV Personal Information / Personal Information

First Name-Last Name / First Name - Last Name: Nida Erdogan

Date of Birth / Date of Birth: 26.07.1999

Education / Training

Tekirdağ Namık Kemal University - (Painting / Art)

Yildiz Technical University (Art and Design / Art and Design)

Artist Text / Artist's Description

My art practice turns to a universal and philosophical inquiry based on my individual essays. My bird phobia, which developed as a result of a trauma I experienced in childhood, is the main motivation for my works. He deals with concepts such as death, uncanniness and Deconstructiveness of human nature through the dead bodies of his birds, explores the relationship between individual memory and collective knowledge.

Death is not only a son of mine, but also an image that shows the return of his life. While bird figures work as a commodity that is kept a record of in no way, he sees the uncanny connection that man has established with destructiveness. Like lifeless bodies exhibited throughout history, these images, which question the order in the field of fear and control, offer an explanation of our existential anxieties and the dark side of memory.

Working with different disciplines such as painting, sculpture, collage and space-specific settlements, I study the ways in which individual travelers return to collective memory. My art, in the realities of death and life, examines the time of deathlessness of beings who return to the object of fear.