When I received the news that I lost my grandma Sıdıka Çolak, who is the central figure of the video, I was in Palermo - Italy to follow the new edition of the Manifesta Biennial, which is the subject of my doctoral study. Not being able to catch up to the funeral of a person who has significant impact on all kinds of love bonds I have formed with living and non-living things in this life, prompted me to rethink the impact of the speed of the global times we live in on our personal and collective memory. Everything is quickly being normalized, dulled and selectively translated into stories to be told. This situation reminded me the distinction that Svetlana Boym offered by construing the etymological origin of the word nostalgia (nostos (return home) + algia (the longing)):

“Restorative nostalgia stresses nostos (home) and attempts a transhistorical reconstruction of the lost home. Reflective nostalgia thrives on algia (the longing itself) and delays the homecoming — wistfully, ironically, desperately”. (“Nostalgia and Its Discontents." Hedgehog Review 9(2): 7-18. 2007)

 By going back to that abandoned house and garden after 13 years and transforming into lieu de mémoire by an artistic intervention, I tried to defend algia against nostos and reconsider my memories through applying a temporary painting on the rooftop. This work aims to go beyond my personal memories and attempts to bring oral culture, nature and a slower time to the agenda of our hectic daily life we live in