In this work she brings together two different representations of reality: fixed image and moving image. In “Falling 16” we are faced with a figure that we watch from above: He stares distantly on the ground on a concrete road. It takes time for us to understand if he is waiting for something in a setting that we cannot tell that the sound of the wind portends something, or if this inaction is caused by the nature of photography. After a short while the tension of the setting is interrupted by the appearance of a figure of an aeroplane and it crashing and starting to burn on the point where the figure stands. We don’t see or expect any kind of reaction, movement or an indication of awareness. Video keeps repeating itself.
Çiftçi’s insistence on using photography and animation together or animating photographs can be seen here as well. The situation reproduced through a found photograph is a way of use that does not care about the place that the original visual comes from regardless of its self-contexts. These interventions which most of the time gives the impression of a game played by using objects brings the viewer to an oscillatian between the meanings of the elements used and the uselessness of a freely gesture. A falling F 16, the stranger hovering between things on the middle of a road. Is the abstracted stranger or the intruder who easily comes inside a stagnant situation a warning or is it a temporary confusion created by the two different regimes of images being together that catches us?
We cannot link signs together easily. Is this scene built with the carefree togetherness of the indicators of violence and game an ironical re-presentation of the constant war situation that we live in, or is an easily coincidential encounter unaware of the truth? The traffic between this differentiation, the point that this work stands on and problematizes and the position honestly laid down by the artist point to this moment of hesitation. The areas of inside/outside, distance/closeness are the moments that we are exposed to while we are viewing this work; the moments that we haven’t decided yet, aren’t ready for, the moments we have doubts and changes ideas about.