I use live microscopic mold that leaves physical inscriptions by direct contact on the surface of a paper or board, which creates a living platform. In Contamination Series, the surface of each panel is laced with graceful, brilliant mold until the entire surface is covered and patterned with circular borders. Then, I assembled these forms and shapes that mold produced, to create various visual references that can relate to both natural and human impacted landscapes. The forms have similarities to human-induced activities on the landscape. They create territories, boundaries, and borderlines and end up with conflicts on the picture surface.
"If the artistic process is more interesting than the outcome, as some modernists hold, then the greatest artist is nature itself. Its systems are endless and inexorable, even if the results aren’t always impressive to the naked eye. Take, for example, the fungal experiments of Selin Balci, one of five former Hamiltonian Artists fellows who return to the gallery in “Empirical Evidence.” The Turkey-born Marylander is exhibiting such seemingly inert items as petri dishes that contain slowly evolving mold spores. Far more dramatic is a more artist-directed piece, a five-minute fast-motion video in which molds spread across a world map. It demonstrates the power and scope of the tiniest living things."
Mark Jenkins, October 1, 2021, The Washington Post
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