A Tale of the Earth (2020) is inspired by one of the display units of the Mineral Museum in Paris, the artist creates similar display cabinets for her thought-works, like collages made of anecdotes, information bits arbitrarily placed together as in dreams. The artist imagines them as containers for the miscellaneous, she places stones, shells, drawings, text, lightbox, and lace together.
For example, in one of the three cabinets, we see needlepoint lace bits. The artist thinks of ways to care for mollusks and decides to learn needlepoint lace to make garments for them. Deniz understands this as a manifestation of “learning a skill for other living species.” At another part of the cabinet, we see a mountain-like stone and a mollusk skeleton. For Deniz it is a symbolic representation of a great cycle on earth where the limestone mountains are made of mollusk skeletons. A photo of a travel agency window in Colombo depicts the man-mountain as Lilliputians called him in Gulliver’s Travels . Another part in the display unit is devoted to mining history. In one corner we see stones with a perfect gold rectangle embedded on them. P yrite is a gold color mineral and forms almost perfect crystals that have edges, and by virtue of its resemblance to gold, called “fool’s gold.” The artist uses gold leaves to forge “the fools gold.” One of the pencil drawings in the cabinet is based on graffiti from Dura-Europos. Clibanarii armored horsemen give a name to h ermit crab-Clibanarius Erythropus. Probably naming a sea creature warriors helmet an example about a male-dominated approach to nature where almost all the classification is made by males. Like the lace consisting of waved dots, these cabinets hold items that are like connecting the dots.