Would you like to talk about yourself as a video artist first? What kind of contribution did the environment you grew up in provide for your artistic practice? 

I had education on cinema and media -my works are nourished from systematic approaches. I don't define myself as a video artist. When I am including video to my practice, I degrade the visual informations to light with the help of projector and make them become abstract. My process is a bir like the process of a painter; yet I use abstracted image and light instead of paint. The environment I grew up in reflect to my practice in various different ways. I grew up in a family, who is intimate with technology and art. This contributed positively to my process of finding out my area of interest and having personal approach.

How does the visibility of new media art in the last few years effect the work you do? Does this have any effect especially on the creation process of artefacts? 

Evaluating the developing technology and our  concordantly proceeding perception process, and the changing social media and its visual norms parallel to each other, yet making these readings on a rather textural plane attract my attention. My works are effected by traditional practices and analogue mediums more. However, I follow the development of new media art closely.

Are you video installations in relationship with the architectural features of spaces? 

Although my process is effected by the relationship of an architect with the space, it works in a different way. I start to discover the texture of the space, observe the story and start to make a physical dialogue with it during  my process of meeting with a space. My tendency to the space is intensively effected by phenomenological approaches.

When I look into your works, I come across with videos containing abstracted forms or ambiguous human figures.  Is this a preference? 

I abstract visual information by recording them as substantial figures and putting them to various processes. This process is our perception processes in both abstract and substantial sense and researches the layers as our filters. Researching the process of abstracting substantial worlds, I make an effort to reach the essence, the core of thoughts and states of existence.

You make the research moments over individual existence states in your video, projection, painting works intensely visible. What can you say from the perspective of content in order to make it more explanatory about the works you produce?

It wouldn't be an exaggeration to define our daily lives as an intense visual nausea. The identities, personalities and decisions are in constant invasion of symbols in the state of a flow and we form personal 'truths'. I research the process of internalizing this intense information ocean and the fraction - snapping moments that these processes create, the processes that we might call illusion, in my works. 

What is the process like when you are creating your works?  

My work process is working in parallels. I concentrate on painting, sculpture, video and sound projects in different time frame. My works are the combination of these different processes. I have got projects that I have been working on for years as well as works, which were realized in one day.

As well as being an artist, you are also the co-founder of a space called Prizmaspace together with Eli Kasavi. What does Prizmaspace propose for Istanbul art environment? 

Setting off from the idea to share our mutual atelier, we shaped PRIZMASPACE as a cinematic and interactive project space supporting mutual work and collaboration as well as being a place for young contemporary artists to share their experimental productions without an "interference". We concentrate heavily on experience based presentation styles; but PRIZMASPACE is a place, where we evaluate the spiral digital age we are in together with social existence and and ask questions about it as well as concentrate on the place of these approaches in art, their form and alternative presentation styles that they create.rather than satisfying only instinctual simulation dependency. 

What kind of programme intensity does Prizmaspace have in the up coming year? 

We continue with our programme with the solo exhibition of South Korean artist Sejin Kim, who will be sharing his final period production, on 29 January within the scope of our Residency Programme.  The screenings of Ozan Adam on March and young Serbian director called Daina Oniunas-Pusic on May within the scope of our director exhibitions. We will be ending our yearly programme with the second group exhibition in April and Moving Images #2 exhibition, which Eli Kasavi and I formed in collaboration, in June. 

Do you have any projects for the up coming period that you are planning to do personally or attend? 

I am actualizing new productions as a continuation of Idios and Koinos Kosmos series for group exhibition, which will be held in Mixer by the end of January and called Possibilities and Choices. Also, I am developing a project on virtual reality for Galaxias Maculatus exhibition, which will be realized in Museo De Arte Contemporaneo (MAC) in Chile in Spetember.

You can follow the other works of Lara Kamhi from: http://larakamhi.com/