Gökçe Erenmemişoğlu’s haunting photography presents an updated take on the uncanny valley. The artist concentrates on objects that are, if not everyday, then universally recognized to mean certain things or possess particular associations. He photographs vintage dolls, a common signifier of childhood and nostalgia. His other great theme is skyscrapers, an overt symbol of might and modernity. But his works deliberately skews the classic interpretation. Erenmemişoğlu washes out his palette to blacks, blues, and grays which remove the familiar images from our normal sphere of reference. The dolls are photographed in piles, in pieces, and in disarming close-up – all techniques that dehumanize those painted plastic faces. In cityscapes, the camera is tilted to disconcerting angles, pushing a building’s spire almost horizontal to transform an icon of power into something deeply unstable. Erenmemişoğlu describes his work as a “protest” in direct opposition to the images he creates in his commercial life.
Erenmemişoğlu divides his time between Paris, New York, and his home base of Istanbul. As a commercial photographer his work has appeared in campaigns for such brands as American Express, Mercedes Benz, Coca-Cola, and Vodaphone.