"All that glitters is not gold", 1999. "Arguments", Atatürk Cultural Center, Istanbul, Turkey/ Centre d'Art Contemporaine, Geneve, Switzerland curated by Paolo Colombo, Victor Durschei.

The object of desire. You have to get it. You have to get it. Gold is artificial. The desire is playing around deficiency. The sublime mechanical machine is here to activate the acceleration of the expectation. The desire is a mechanism of mass production. And, works in a regular rhythm. The machine normally functions in a rational way of awareness, efficiency, and precision. All of a sudden in ecstasy. Comes the irrational, comes the unpredictable, comes the temperamental, uncertain, intensive passion. The rhythm of the machine work that different levels of intersection. And, in real space in the field of imagination. And, imagination "digitilus" arises to be touched. It couldn't exist without the action of looking. Erotic images, obscene installation. Very intensive moments of sexual intercourse captured in the nerves, tears of memories. Over flowing the surface of the space. Memory machine in relation to image machine. Uncovering the space, for instance the moving images on the video screen in the still images taken at the climax of the process. In the way of Deleuze and Guattari's "Desire Machine". Each desire process and conducts, directs a machine for its own existence and survive on its own. It has to work with an other machine to satisfy its' needs.

A plurality multitude of machines are working together to realize a form of conflicts with its components. Majority of the machine is working together to realize a form in conflict with its components. It is a conflict between the wrong distance of the passion between the heat and the code with a tasting being. The moment of the eruption is a unique moment when the castration/castigated of the demonstration begins. The machine stops the production for an other wave of production.

All space leads to a matrix between witnessing and feeling, experiencing, something. this experience it also exist is a neutral way in full nudity, but it loose its, innocence with cynical reinforcement of voyerism. The subtile prices voyerism rising, prolonging and amplifying the esthetic all distance to its borders.The artist play the game in reversing the way of looking at things Ebru Özseçen makes that the spectators become inherent element of the desire machine it became part of it. Nevertheless "All that glitters is not gold"*
1 digitulus: Latin word "small finger"
2 digital: the touch of finger

*"Mechanical passion as digital gold" published in "Arguments", catalogue written by Basak Senova ISBN 9757363170

"All that glitters is not gold", 1997. Triptych video installation with sound.