14 January 2026

Morphogrotesque: A New Meta-Nature Proposal Between Nature and Algorithm

Art
67



Belm’art Space hosted Morphogrotesque, a site-specific installation by Assoc. Prof. Dr. Kerim Dündar, within the scope of the exhibition Abstraction as Method: The Anatomy of a Practice, curated by İpek Yeğinsü. The exhibition was structured around works that approached abstraction not merely as a mode of representation, but as a mode of thinking and production. In this context, Morphogrotesque was positioned as a conceptual axis that rearticulates the relationship between nature, algorithm, and form at the threshold of the digital age.

Produced as a print on 250 g cotton gabardine textile measuring 150 × 450 cm, Morphogrotesque generated a black-and-white surface configuration that integrated with the niche architecture of the gallery space. Flowing uninterrupted from floor to wall, the pattern evoked the simultaneous presence of a carpet, a mural, and a digital landscape, inviting the viewer into a suspended experience between the physical and the virtual. In Dündar’s practice, nature is not conceived as a mere source of visual inspiration, but rather as a form of “processual intelligence.”

For the artist, the central concern lies not in imitating nature, but in understanding how it operates and how it comes into being. Form is approached not as a final, fixed outcome, but as a continuously evolving process; correspondingly, the designer is redefined not as the one who directly “creates” form, but as the subject who establishes the conditions under which it may emerge. The algorithmic methods employed in Morphogrotesque computationally reconfigure processes of self-organization, repetition, and rupture found in nature. As a result, the resulting surface behaves less like a designed composition and more like a digital ecosystem that develops under specific initial conditions.

İpek Yeğinsü’s curatorial framework approaches abstraction not as an act of distancing, but as a method for revealing different layers of reality. Within this framework, Morphogrotesque introduces the idea of a “new meta-nature” in an interval where the boundary between nature and algorithm becomes increasingly indeterminate. The work addresses immanent complexity not merely as an aesthetic effect, but as a philosophical inquiry into how existence is formed, inviting the viewer to become part of this question.




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