“Hunting Season” is fictionalized as a hunting ritual about the personal struggle of modern life. Hunting is an impulsive act that has been going on subconsciously since the hunter-gatherer times of man, which our modern consciousness cannot accept. However, the hunting ritual, which seems brutal and repulsive at first glance, is not far from modern man when the purpose of the action is focused. It is the repetitive action of hunting with long and detailed planning that makes hunting a ritual. Hunting is important because in addition to being the primary food source of primitive societies, it satisfies the urge to dominate, gather power, and dominate another living thing as a result of a struggle. In the bison and mammoth paintings drawn on the cave walls, the traces of a ritual aimed at defeating its prey and gaining strength are always seen in the handprints painted on the wall. For the primitive hunter, this ritual serves as a spiritual preparation for the hunt. Perhaps as a collective action of a group of hunters, the entire hunting process took on a planned ceremonial character. Large and powerful prey is a sign of power and status for the hunter. Collective hunting, on the other hand, helps this status drive to be refined and directed towards a constructive and strong sense of integrity associated with sharing, cooperation and trust. Primitive life carries the purity and wisdom of nature. Primitive man responded to this purity with his naivety and was able to live in harmony with his own impulsive existence in the face of the harsh and ruthless rules of nature. However, today's people are alienated from the rules of nature in a synthetic living space that they protect themselves. He invented an artificial set of values ​​for himself without a harmony and balance mechanism that would introduce him to his existence. This area of ​​existence keeps man within the boundaries of himself and his immediate surroundings, in a whole of relations limited by the impulse to win and lose. Primitive impulses are in place, but the goal has changed. Hunting no longer has the collective and egalitarian nature it did 2 million years ago. Because with the urge to hunt, our attention is directed not towards other animals for food, but towards each other for power and status. These works, while tracing the most basic and most impulsive existence codes that aim at human survival, collide human impressions, traditional codes of urban life and images of routine life with the primitive existence of humans. The diary arrangement, which is the main subject of the exhibition, has a feature that gives the exhibition its name, in fact, it traces the success and failure of the struggle of modern life and artistic adventure in a personal sense. This is also a hunting adventure. In addition to the preliminary works in the creation process, the intellectual traces of the day turn into visual subtexts. The attitude displayed in the diaries is similar to the stream of consciousness method used in literature by writers such as William Faulkner, James Joyce or Virginia Wolf. The serialization of thoughts and emotions into writing without associating them with each other, combined with different visual techniques such as writing and pattern collage in these diaries, allows to capture a holism that can fully express human at a point where reality and thought, conscious and subconscious are mixed. The sculptures and paintings in the exhibition are the result of the emotional and intellectual process shared in the diaries. The main structure of the canvas paintings in the exhibition is based on the plastic construction of the series "Layers of Consciousness". The overlapping and complex nature of human emotional states that are the subject of the Consciousness Layers and the situations where they conflict with real life are reduced to hunting and being prey, which is a more specific phenomenon here. In essence, at its core, this is our reality as modern and social individuals. Our life oscillates not only between instinct and reason, but between thousands, if not countless, polar pairs. Simply put, each of us has different identities. Each of these identities demands that we make countless decisions per day. We experience conflicting roles, situations, oppositions, but at the end of the day, we are together in the same body with our entire existence. In these paintings, there is a layer-by-layer continuity and permeability that prioritizes these complex emotional states and roles of human beings. This obscures time and space. The problem of existence, which is identified with the figure in some of the paintings, outweighs the sense of space. The transformation of the figure is especially important in portraits. In other paintings, places and situations are overlapped and intertwined. At this point, the paintings demand an intellectual and visual concentration from the viewer. For example, a banquet table becomes meaningful with the people eating, but with the crocodile crushing its prey in the river that is placed on it. Simultaneity and permeable spaces have a structure that affects each other and increases and deepens the meaning. At this point, lives with contradictions like David Harvey's post-modern man are visualized in these paintings through the spaces on which the events are based. The man Harvey describes is reggae dgroans, watches a western; McDonald's for lunch, local cuisine in the evening; In Tokyo, she wears Paris perfume, in Hong Kong she dresses retro.[1] These lives, which do not depend on a single cultural identity, exist with fragments of many contradictory life models, and use their own boundaries only to gather power, are the lives of people who are both prey and hunter in their own world. The three-dimensional works in the exhibition were also constructed based on simultaneous existences. The main problem here was to discover how to capture the issue in the paintings with the sculpture through a plastic language. Because the problematic of the three-dimensional mass as a plastic form does not allow the creation of illusions with overlapping planes or color layers as in the picture. The layered simultaneous images in the paintings turn into group figures that contain a unity of meaning together in the sculptures. In some sculptures, there are color and form experiments that support the meaning and fiction on the surface. Phenomena such as plot and space are now subject to the rules of the three-dimensional "real" space and mass and the "real" world. Today's people have a complex and dynamic inner world with their mental infrastructure and spiritually based needs. Adding to this the ever-expanding world in front of it, the problem becomes even more complicated. Everything about the world and life contains plural relations. Each dynamic is a complex and interrelated whole with another dynamic. The hunting ritual questions the existence in the multiple structure of man, who is such a complex whole. Both the prey and the hunter; It aims to display the existence, which is neither the prey nor the hunter, with all its contrasts and complexity.