Ebru Özseçen: The installation contains 36 monitors which will be installed inside and suspended from the ceiling of the restaurant. They will be arranged in such a way that they are facing different angles, so for instance the visitors who are sitting at the tables, or the people sitting at the bar, but also the people who are passing the gallery will be able to see the images. On the monitors random images of the process of making pastry, or to be precise the making of two pastry forms from the assortment will be shown.

EO: I have been recording during one week at Pompadour, a confectioner in Amsterdam. The man whose hands you see is a real craftsman, specialised in the making of this kind of pastry and chocolate, a perfectionist who works 20 hours a day. It is important to me that he has this passion for his work. It is his love and then he makes these forms, 'fertile' forms, and you see how he constructs the pastry.

EO: The images are close-ups, details of his movements of the making of the pastry, the building of the forms, layer after layer until the form is completed. You will sense these layers if you see the form in the end, and the images will bring you from the form to the details. The blow-up and the fact that they will be shown in slow-motion gives them a kind of secretiveness. And they have this special quality of softness. The images are meant to be attractive, tempting you to watch and to be seduced by the images. There is no sound, but while watching the images you will be adding the sound in your own head.

EO: For me these notions are related to everyday life and to what makes everyday life special. All important things are related to passion. This is not something concrete, but passion will give your life an undertow in relation to ordinary topics. And these notions will influence the person who is experiencing them. They will take his experiences out of the ordinary and will endow them with another quality, a kind of sensuality. If they are sensual notions there is less to talk about and more to experience.

EO: Yes, I was trained as an architect, and that is important, but most of all I am an artist, looking for the best way to convert my findings from the outside world into interior experience. At the moment I am working on my image archive, which I have been making over the past two years, a collection of images I am attracted to. I have this kind of archiving fever. I collect similar forms and their different transformations. My work is all about form, and I am interested in certain forms, so one could say that these images are about making pastry, but they could have been about flowers, or the facades of buildings. They are recognisable forms, but relocated. By blowing up the details and recreating images there is another relation between the movement and the form. So if anything, it is more about architecturing then about the construction of forms.

For me this is related to the following: If you are standing in front of a building, you will sense that there is a back and a top, although you might not see them, and you sense that there is an interior. And since you do not see it, you can fantasise about it. Likewise there is a relation between the forms and spaces you see around you and your own interior space, your psyche. The pictures I show are a kind of in between, an intermediary between a form and your own interior. And I try to refer to something without telling it, to let you experience something without showing it. I like balancing between these things. It is like these layers in the pastry: you know they are there, you sense them, and you know that the form is like this because of them. The inside is necessary for the outside, and yet it is never told, but only referred to through the poetry of an image. For me this exterior-interior relation, this sensing that there is more, is also connected with my religious notions.

EO: The forms I am working with are referring to a lot of topics, but not to these topics. The work is related to very ordinary things. And since it is me who is collecting there is a connection between the images and the topics. I am often asked if my work is feminist, or especially Turkish, and for me that is not a theme. I think about myself as a human being, communicating with others, working with universal and often interdisciplinary topics. Sure, all form is about gender, so looking is also about gender. You simply cannot construct without using either masculine or feminine forms.

EO: For me food is related to desire. It is sensual, it is everyday life, it is passion as well. And it is universal. That specific work started when I walked in London and saw in a little shop a beautiful chandelier. I made a photograph of it, a two dimensional image to memorise this form. Two years later I made my chandelier. It is a kind of constructing which was never there, but it is a fantasy, a possibility which came into existence when I transformed my memory into in my sugar version of the chandelier. So you bring something from the exterior space to your own interior space, your own psyche. And back into the world again. It is kind of a digesting process.