Graduating in 2006 from Mimar Sinan University of Fine Art, Istanbul, Can Dağarslanı aged 31, became increasingly more interested in photography while studying architecture. Dağarslanı’s love for urbanism and architecture is evident in his organized quirkiness and his, sometimes sarcastic, game of the human form. Human relations, the fragility of our social boundaries, love, identities and all these other drugs are some of his preferable thematic, that blend in a vortex of what can easily be described as the new normal. And perhaps at the end of the day, that’s his biggest asset, documenting and exposing the limits of our generation’s “New Normal”, complete with everything that makes a precious, deep and intimate abnormality. Can explains his work by stating, “First of all, I question myself how can I give flesh and bones to my ideas, while at the same time manage to draw the audience’s undivided attention.I keep the natural light and the colors of objects as it is and mostly play with composition and the models’ posture. The subject remains anonymous, leave both little and much to the imagination. Definitely my architectural expertise has an influence on the space-object analysis. The perception of the space, the perspectives and the layers of it become a journey for me while creating my compositions. The geometries of the space itself play a key role, becoming as much a character in the visual narrative as the models themselves. Either an open white space can be contained boundless potential for movement and form, or an emerging domestic space expands and limits the model’s possibilities, directing and regulating their actions even as it helps to define their roles.