Perfect Symmetry
Featuring Can Dagarslani Words by Nastasia Khmelnitski
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Can Dagarslani creates a fusion between his extensive knowledge in the field of architecture and fashion photography. Merging the two distinct worlds allows for a new aesthetic to surface. Symmetry, the form of the body and the objects, incorporation of buildings in the frame are predominant factors resulting in the unique visualization of fashion photography. The erudition in cinematography and films influences the final frame, enabling to direct a story, which takes shape on set. Every movement of the body, each posture, gaze, and added object serve to produce a thought through scene.
Can Dagarslani started his career as an architect after graduating from Mimar Sinan University of Fine arts in Istanbul, Turkey. Photography became a turning point in his professional life, leading to a new focus and redefining the visual aesthetics. Some elements remained as the expertise and interest in architecture and the approach to creating the form. Can strives to achieve a perfect balance managing the time available for photography and architecture.
In this interview, we touch on topics such as the French New Wave, analog photography, planning the shoot, and the promise for the future Bauhaus brought. Can speaks about his childhood, growing up in a small town, working together on sets with Sophie Bogdan, his book Identities, and the love for symmetry.
‘I think at this moment, everyone is living the same day over and over like the movie "Groundhog Day" because of COVID-19.’
Hi Can, how did your day start today?
I think at this moment, everyone is living the same day over and over like the movie "Groundhog Day" because of COVID-19. Nothing new, we live in a time loop, a little nervous but hopeful for the future.
You studied to become an architect at Mimar Sinan University of Fine Art, Istanbul. What do you remember the most from those days in the uni?
The education of architecture or any fine arts brings strong friendships. We were always dancing together at the bar or drawing projects at home until the morning. As of today, teamwork is a must in both my professions (architecture and photography).
‘It is often painful for couples to work together. Although we also have difficulties, we both enjoy working with each other the most.’
Tell about your childhood and growing up in Istanbul. What were the games you played the most as a kid?
My childhood did not pass in Istanbul, it was in a small town intertwined with nature, until I was 18. This gave me the opportunity to play with my friends outside for hours. But on the other hand, I also loved to spend time with myself. Perhaps the number of books I read until I was 18 is much more than what I read later.
What is your favorite film by Jean-Luc Godard?
I find it more correct to divide Jean-Luc Godard's films as periods rather than individually. Even though during the late 60s he discredited the movies he made in the early 60s, I am still more interested in that Nouvelle Vague era.
The movement was identified by its rejection of the era's traditional filmmaking conventions in favor of experimentation and a spirit of iconoclasm. Nouvelle Vague filmmakers explored new approaches to editing, visual style, and narrative, as well as engagement with the social and political upheavals of the era.
You’re engaged to Sophie Bogdan, a performance artist whom you also feature in your works. How does your creative work affect one another?
We are very fortunate that we are two characters that are extremely opposite, but also extremely similar. In this way, we enjoy the same things, but on the other hand, we complement each other very well thanks to our differences. It is often painful for couples to work together. Although we also have difficulties, we both enjoy working with each other the most.
‘I have only been using analog cameras that have not changed since the first day. And when I think of the cameras I use, analog is enough for me, the feeling of each analog camera is unique anyway.’
What was the camera you first started to photograph with and which camera do you prefer today? What did you learn in the process of switching gear
My first camera was Nikon FM2. Today, I prefer compact cameras and medium format cameras, depending on the subject I shoot. My current partners in crime are Contax G2 and Pentax 67. I have only been using analog cameras that have not changed since the first day. And when I think of the cameras I use, analog is enough for me, the feeling of each analog camera is unique anyway.
‘I enjoy observing, especially objects, their colors and textures. I always take notes of these visuals, which inspire me in my everyday life.’
Tell us, how do you approach a shoot. Do you tend to plan to detail the shooting day, the angles, model’s poses, the light?
First of all, I enjoy observing, especially objects, their colors and textures. I always take notes of these visuals, which inspire me in my everyday life. So the ongoing daily life inspires me the most and serves me as a starting point.
The second stage is progressing more fictionally. In particular, I explore the location and models I will shoot during long periods and then examine them in detail. I plan some scenes in this process.
The last part is the day of shooting, many ideas are born in this process, but the scenes I planned before ensure that the shooting does not go stuck and complicated. This is important to keep my team happy and concentrated.
Architecture wise what is the style you are inspired by the most and would stop to look at in any place in the world. Do you have such examples?
I can say Bauhaus as an architectural style. With utopian ideals for the future, the Bauhaus school developed a pioneering fusion of fine arts. The fact that it embraces the outlines of completely utopic ideas from numerous disciplines as painting, sculpture, architecture, film, photography, textiles, ceramics, theatre, and installation, the impacts of the school remains until today.
If I say an individual architect, it’d be Peter Zumthor, in the buildings he designs and presents the basic concepts such as space, material, texture, light in its simplest form.
One of the elements that make your photography unique is the symmetry and geometry you build in the frame. Reminiscent in his craziness of Wes Anderson’s style, so soothing for an eye, awe-inspiring. How do you create symmetry on set?
Definitely, my architectural expertise has an influence on space-object analysis. The perception of the space, the perspectives, and the layers of it become a journey for me while creating my compositions.
Perfect symmetry does not exist in nature. Therefore, it is not easy to achieve it. The difficulty of creating some scenes can drive my team crazy.
Tell about your recent book Identities. What is the main theme and the most exciting part for you in the publication process?
As the name suggests, it focuses on the topic of identities. And this minimal book allows the viewer to find the personal meaning and connection to the series.
The fact that my book reaches even far away countries, receiving many beautiful messages from different parts of the world, gives me great happiness that I have never experienced before.
You shot several series for ADER Error. What’s the creative process like for you when choosing the main theme to base the shoot on?
We have been working together since the ADER brand was established. Our collaboration is very enjoyable, as both sides admire each other's work. Since ADER has a simple and colorful line, it is perfectly suitable for my compositions and style.
In every series I produce for them, I work with people with different characters and develop ideas on creating grotesque scenes as I always do. I have a challenging research process to ensure that the relationship between models and ideas/scenes is strong.
What’s next?
My hunger for photography is getting stronger from the first day. In the production process, I feel freer with photography than architecture. Perhaps work balances may shift from architecture to photography.
