"Accident is Intention is Accident" is Ülgen Semerci's project on accidental occurrences through decision making and transformation.

Semerci deals with the questions of "At what point does an accidental occurrence differ from an intentional one and at what point do they evolve into one another? How does this cycle of transformation affect our thinking and working process?" in her work and tells in her project text: "In the series, images obtained from various sources come together via repetition, imitation and manipulation. The rainbow that appeared on the studio floor one day is linked both to a camera from the 80's which damages the film inside of it and to a dental x-ray of lost filling. Because it is read side by side, a faulty picture from an expired single-use camera is affiliated with a printout which came out of a printer running low on ink. When do stains become drawings? How are accidents internalized?"

For Semerci who uses different mediums together, photography is only one of the many tools. Using a medium where means and ends can easily get confused, she has a clear perspective: "The matter is not to reduce the technique, what matters is what you do with it." Her works apart from "Accident is Intention is Accident" are also thrilling in their novelty in terms of the visual language as well as the relations she establishes. Semerci starts taking photographs for her collages. In her own words "The historical and contemporary relation between photography and painting, is that painting is a source photography form its basis from as well as a source it uses to break new grounds."

Ülgen Semerci's collaboration with Burcu Yağcıoğlu in the exhibition "Flooded" where photographs and drawings are installed separately also worth a look in terms of the viewers' responses: "It was really challenging for me to get very different responses to photographs and drawings from the viewers. With this juxtaposition which I find integral, I didn't expect they would create that diverse conceptions. After all, even if I work with different mediums and different techniques, at the end of the day my ultimate aim is to get a single image." And this is an indicator of how important means are for the narrative.

Even Semerci doesn't give a clear answer as to where she stands in her photography practice and tells she still tries to construct it, it is obvious she will preserve her originality in terms of her perspective on style and medium, and in creating a strong narrative.