Photography lets me look where I could not look otherwise, without judgement or an educated filter deciding first.
About
I’m
Burcin IO.
I grew up in a changing country rich with nature and cultures: a place that keeps teaching me how to observe, discover and learn.
I began as a junior creative in fashion and television. A first DSLR camera turned documentation into another way of thinking. Photography taught me that a lens does not simply repeat what the eye sees: it can fail, distort, reveal and invent.
I am not interested in forcing every creation into one recognizable style. The works are not all connected by appearance or material. I am what connects them, and the passion for making is the current running between them.
“Art making is the ultimate freedom.”
Human beings learn to wear acceptable versions of themselves: personas shaped by culture, survival, respectability and expectation. Worn long enough, the costume can become an illusion of the self.
For me, art making is a way out of that costume. In the act of making there are no rules, restrictions or judgements. It is a gate to my uneducated, uncensored mind.
The idea chooses its body.
Inspiration can arrive as an image, a story, a disturbance, a question or something I have not met before. I try to remain open enough to recognize it and let it find the form it needs.
Disciplines can hold depth, but their limits do not have to become the limits of an artistic mind. Photography, animation, film, digital drawing, sound, performance, code and conceptual systems each let me think differently.
Enter CreatedWays of making
Every medium changes what becomes possible.
Animation lets me direct every detail inside time. It demands observation: even an ankle in a single step becomes a lesson in physics.
Sound may be my earliest commitment to art. I play instruments by ear and improvisation, often as a private, meditative flow that sometimes becomes part of a film.
Drawing begins messily and pulls me into details, then details within details, until they gather into a whole.
I am still learning code. Even now, it gives me the powerful feeling that I can make things happen in digital space.
I have always thought through concepts and modular systems. Sometimes the strongest authorship is not a visual style, but the structure that allows everything else to happen.
Creative direction
Ideas can organize a whole studio.
My creative growth took place inside Tanju Babacan Studio. Tanju was the fashion designer; my authorship lived elsewhere: in annual concepts, strategies, inspirational methodologies, creative processes, fashion films and runway-show productions.
For science-led collections, I designed ways for the studio to learn directly from scientists and translate that encounter into the full creative process, the show and its public language. Projects such as Astrowinter: Evolution of a Star and Science of Change: Chemistry treated knowledge as more than a mood board.
I also created an incubation model within the studio that helped new brands and practices emerge, including Buddypa, Spiffy and the Animation Crew formed to make Seize. The point was not simply to produce objects; it was to build conditions in which ideas, skills and people could grow.