“what memory has in common with art is the knack for selection, the taste for detail. complimentary though this observation may seem to art (that of prose in particular), to memory it should appear insulting. The insult, however, is well deserved. memory contains precisely details, not the whole picture; highlights, if you will, not the entire show. the convinction that we are somehow remembering the whole thing in a blanket fashion, the very conviction that allows the species to go on with its life, is groundless. more than anything, memory resembles a library in alphabetical disorder, and with no collected works by anyone.”

Joseph brodsky wrote about ‘common grounds of memory and art’ in 1985.  legitimized culture manipulates the reality represented by particular objects so that objects do not stand for their concepts any more. meanwhile, our memories continue their construction processes which generally do not depend on us. if an object has been used for hundreds and thousands of years,  it makes us think that it is ancient. book is not one of those objects. the one who reads knows that.

​Sultan burcu demir uses daily objects which got their utilization domains altered or lost importance as a result of economical, political, and scientific progresses through humanity as her materials in her works. she changes actions of these objects by damaging their forms. in a way, she makes those objects to confess their real history by changing their functional codes. she highlights their content and makes them pleasant.