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.