The Shack

Not migrating, but relocating.


Not like a body that carries its home on its back like a turtle, but a mode of existence that reshapes itself according to the culture, ways of living, and available conditions of the place it arrives in. This relocation does not describe crossing a border, but rather staying within it, adapting to it, and transforming together with it.

At this stage of my life, I left behind established conditions such as a four room apartment, a fully equipped studio, and a car, and began living in another country. Living in a one room rented apartment, using one third of a shared studio, and relying on public transportation led me to a clear realization. This was not a loss, but a state of being enough. It was also safe. “Less is more.”

This experience revealed that the relationship between inside and outside is not fixed, but permeable. The ambiguity of physical borders in the geography I inhabit strengthened my belief in a time in which borders dissolve as rigid lines and turn into relational spaces. What we consider to be outside has long been inscribed within the inside.

This sculpture is conceived through the idea of a fisherman’s shack, starting from the notion that enough is already good. A structure floating on water, suited to its function, prioritizing necessity over aesthetics, improvised yet resilient against physical hardship. It can be dismantled and reassembled elsewhere, transparent, secure and sheltered according to its conditions, intelligently built.
Like the shack itself, the sculpture has a kinetic structure. This movement represents both relocation and adaptation to a new context. The boundary between inside and outside is not clearly defined. It is permeable and open to negotiation. The space is not a shell, but a process.

Here, the shack exists as more than a shelter. It appears as a temporary threshold. An in between space where belonging, safety, and identity are not fixed, but continuously reconfigured.