Hence, the title OUTSIDER is correlated to his position as an artist in the current coercive political, economic and cultural transformations that shake the local and global living circumstances rather than to the content and form of the works. The content and forms of works meticulously map the various properties, phases and moments of these objectionable circumstances.

Since his debut in the highly competitive art scene of Istanbul, Saray distinguished himself with peculiar drawings of illustrative bizarre narrations, ordinary living scenes and common objects. Strong, determined lines multiply in these unusual drawings so that they create an animated image and refer to the flux and reflux of visual memory. The recent works in this exhibition are evidently derived from this basic concept and form but reverberate with multifarious properties and special effects.

First of all, these works, makes one reconsider the current competitive tension between hand drawing and computer drawing. This controversial condition is manifested most clearly. The works make perfect sense as we are now accustomed to computerized art making, but at the same time they imply the traditional sensibility towards what we expect from art making. The repetitive and complex mode of lines emphasizes the figurative imagery in the works, which is derived from the simple details of the real world and daily life.  At the same time, the simplicity of these lines verifies that the idea is essentially born of simple line and the intention is to indicate the crucial individuality. In Saray’s output, line is applied both as a consequence of, and referred to as a vehicle for formal virtuosity and intense personal vision. Functional, simple, but also scenic and intricate drawings reside somewhere between reality and fantasy, form and non-form, creating a vibrant show rich in complexity and thought.

In this corpus of Saray’s work, speculative perspectives on the decentered historical moment become visual anchors for the perceiving subject.