"Memento" (Del lat. remember) lists a series of experiences, feelings and impressions that permeated my Western’s soul during the artist in  residence at the Foundation Babayan House, Ibrahimpasa, a small village in Capadocia, considered World Heritage by UNESCO.

This project began as part of the collection "Essence", but soon acquired a new dimension, given the closely between their culture and mine.
Consider what happened in the development of the painting "Durmus'un karisi”.
Durmus is a beloved character in the village, whom I could say that portrait. Once it was finished came an unexpected and seemingly absurd question: "Who portrait?"
Evidence of similar said "Durmus, of course!”, it’s mean I had commemorated an alive resident in Cappadocia, but could hear other voices whispering "It could well be your paternal grandfather, the same brown and tiresome complexion, the same furrows of years sun and wind ...". There was more, an element, a false-colour, "blue eyes and those who escaped from memory", one of the truths that do not include the alleged portrait, "clear and lively eyes from maternal grandfather!", then I also commemorated the dead were residents in my memory. "And the gap that emerges to the left of Durmus, who belongs?" The  Durmus’s wife, a woman not captured by the public eye but present in the soul of the house and the village, a reverberation of my ancestors. Thus, living and dead were being discussed in the material, presence and absence toys in memory, we were moving of "Essence" to engage in "Memento."
The players were no longer anonymous, have name, not only the culture baptized, but the unconscious appropriates them.