In October 2018, a 5-meter-wide land art installation made entirely of natural materials was situated on Küçük Çakıl Beach, located in the center of Kaş, Turkey. The work consisted of a circular formation created with Posidonia oceanica balls—natural sea-grass formations—and the natural pigment Curcuma longa (turmeric).

The Posidonia balls used in the installation are organic masses that detach from the seabed and wash ashore along the Mediterranean coast. For this project, Posidonia was collected from various points along Turkey’s western shoreline. The turmeric pigment, amounting to 300 kg of powdered dye, was sourced specifically for the work. Over a 15-day process, a team of seven people coated all Posidonia balls with turmeric, supported by the Kaş Düşler Akademisi.

After a year of preparation, the completed materials were installed on the beach with the permission and support of the Kaş Municipality. The installation was designed to coexist with the natural dynamics of the space, allowing the beach to remain fully accessible to the public.

Conceptually, the work examines the social and psychological relationship between individuals and the places they inhabit. It asks:

Can a place transform us? Or do we adapt to the place until it reflects who we are?

The circular form, rendered in the bright yellow of turmeric, references Lycia’s historical identity as the “Land of the Sun.

The materials carry personal significance for the artist:

Posidonia reflects her connection to the Aegean region where she was born, while turmeric—long associated with healing—evokes psychological restoration and symbolizes sunlight.

The installation existed as an intervention that harmonized with the natural landscape, adding aesthetic value while remaining temporary by intention. One day after its completion, a storm swept through the bay, dispersing the work entirely. In this way, the piece fulfilled its central theme of ephemerality, allowing nature to define its conclusion.

Throughout the exhibition period, the beach remained in use by locals and visitors, who encountered the work directly by walking across and around it—turning the installation into an experiential, open-air environment.

The project was funded through the sale of preparatory sketches, drawings, and early works by the artist. This collective support from the people of Kaş not only financed the piece but also became a meaningful part of its cultural narrative.