ışık kaya and thomas georg blank

Your name
Işık Kaya & Thomas Georg Blank
Place of birth
Turkey & Germany
Place where you live now
Los Angeles, California, USA
3 words to describe you
Night, Eggvan, Meow
Why do you take pictures?
To capture the nightly qualities of light that cannot be seen with the naked eye.
Where do you get your inspiration?
From our everyday surroundings.
Who are your influences?
Richard Misrach, Trevor Paglen, Laura Poitras, Todd Hido, Michael Wolf, Uta Barth
What determines the subject matter you choose?
Its ability to connect to complex contexts.
What impact would you like your art to have?
To create a space for people to rethink how we relate to the world we live in.
What artwork do you never get bored with?
Artworks that find a balance between being politically informed and formally intriguing.
Is there anything you want to add?
Our series Second Nature is soon to be published by
Kehrer Verlag

Second Nature
Project statement

With the uprise of mobile devices, the infrastructural needs of the telecommunication industry have exploded, and since the 1980s, cell towers have started to fill the planet. The scenery changed dramatically when an antenna was transformed into an artificial tree for the first time in 1992. Since then, this kind of camouflage has evolved into a global phenomenon that raises fundamental questions about the relationship between humans and nature.

There is no reliable data on how many of these “trees” now exist, but in 2013, the industry estimated 1000 to 2000 in the US. During our research in 2020, we found more than 1000 in Southern California alone. While they can be found all over the world, their numbers are particularly high in California. It does not seem like a coincidence that this kind of artificial flora flourishes in close proximity to the hyperreal spectacles of Disneyland and Hollywood.

The images from the series focus on the camouflaged communication and surveillance infrastructures that have become part of the California landscape and are photographed exclusively at night. The series depicts these artifacts of the digital age as, in Amy Clarke's words, a "societal preference for 'fake' aesthetics over 'ugly' reality".