Missing Parts is a photographic series limited to the Susanoglu Beach and its off seasons, in terms of space and time. The project has been realized through returning to Susanoglu many times, working repeatedly on the subject, and has intensified, gaining a sharper focus since 2004. Social and political issues inevitably come into frame of this series immediately, as the area has been rapidly urbanized since the '80s. Limiting the study to the off season might be an attempt to question the flipside of leisure culture—investigating the pain to understand the pleasure better. The tourism boom, and its utterly devastating effects, are still at work today. But the transformation and its social or cultural implications are not the core issues of this project. Far from claiming to be an objective photographic documentary, the artist defines Missing Parts as a series about documenting the euphoria of a raised awareness and is a personal project. Commonplace things become the visual material of an extraordinary experience; the banal reveals its poetic aspect. Worn out things become brand new questions and are rehandled, emphasizing their simplicity and formal elements, foregrounding their subtle palettes with painterly concerns. The fact that the location has a significant importance in the artist's memories since the early days of his childhood also deepens the emphasis on the personal nature of the project.
Uygur Yilmaz’s work focuses on liminality in terms of space and time. It studies popular beaches only in the off-season and sometimes at night, explores the less observed aspects of tourism and the flip side of leisure culture. While social and political questions inevitably come into frame, it plays with the idea of emptiness and experiments with traces. After actors have left and the stage is surrendered to the forces of nature and time once more, it observes the interaction between culture and environment, mind and space, and the structure imposed on the landscape. Through photography, the stage is once more emptied – of overt meaning. In terms of representation of reality, contemplating on the nature of the medium itself in a critical manner, Uygur Yilmaz’s work uses photographic practice as a tool of defamiliarization and dislocation, resulting in the uncanny tension between reality and surreality, corpus delicti and abstract. In recent years beside his photographic works, he began producing sculptural works increasingly, intervening into formal elements of ready-made objects. His obsession with "off-season" and his interest in the struggle between culture and nature continues in his three dimensional work. Experimenting with dysfunctionality and the idea of defeatedness, he chooses his materials from everyday objects and explores methods of how to shift meaning. Uygur Yilmaz (Mersin, 1975) lives and works in Istanbul. He also published two poetry books of short and experimental pieces.