In Bats, Çağla Ulusoy approaches image-making as a form of accumulation rather than composition. Layers of saturated colour and sweeping marks merge into fleeting forms, allowing associations to emerge intuitively through density, rhythm and collision.

The title suggests a possible point of entry, yet like many of Ulusoy’s references, it remains deliberately unstable. Drawing from the fragmented conditions of contemporary image culture, the painting reflects a world in which images circulate endlessly, detached from singular meanings or origins. Reflecting on how her collages gradually became more abstract, Ulusoy notes: “I stopped thinking about the photographs as images and started using them more like brushstrokes, textures, or colour relationships.” In Bats, forms dissolve into movement, colour becomes structure, and the painting unfolds like a living collage, at once intuitive, unstable and continuously transforming.