The "In-Between" series explores a suspended state of existence that belongs neither to earth nor sky; emerging at an undefined threshold where spatial and perceptual boundaries dissolve. The work is shaped through an observation-based process that brings together atmospheric elements such as mist, light and organic textures. In this process, form becomes an encounter produced together by material and moment, rather than being the product of a predetermined design.
Moving between controlled composition and intuitive mark-making, the artist allows forms to emerge over time; each layer both covers and reveals the previous one. This dual movement takes the viewer away from a fixed viewpoint to a variable and permeable perceptual field.
The viewer is invited into a fluid visual field where seeing and feeling, remembering and forgetting intertwine. Here objects do not carry a clear identity, but exist as traces that vibrate in that uncertain interval between consciousness and unconsciousness.

The work "A Pool Within a Pool, Allianoi" reads the submersion of Allianoi ancient city, one of the oldest healing centers, under dam waters through the transformation of the water-human relationship. The city that healed humans with water for centuries has now become the bottom layer of a water mass many times larger; pools remain within the pool. The composition places the viewer between two time layers by vertically overlaying the dam lake stretching on the surface with the ancient bathhouse glowing in the depths in a vertical section. The greenish figures are like a crowd suspended in the memory of water; they are both there and not there. The work is a silent lament reminding that loss encompasses not only a building but also the relationship future generations could have established with that building.

"Seed" brings together one of the rawest images of the beginning of life, a sperm rain with two egg masses and a white, bodily flow connecting them. The canvas splits in two: ochre warmth on one side, absolute black on the other; in between rises a curved passage reminiscent of a birth canal or the opening of a seed shell. The tiny human figures inside this passage – yellow, red, navy blue – gather the path from fertilization to personality on a single vertical axis. Bingöl takes the idea of "beginning" out of the comfort of metaphor and reduces it to the language of biology: seed here is not a symbol but an event. The artist's familiar stick-figure language from his sculptures is at work here too; but this time they emerge not from concrete or iron but from reproduction itself.

"Unkept" deals with the positioning of promise within the system. Unfulfilled promise causes the structure to lose its function; but the structure is not renewed, only patched. The words "protects", "prevents", "provides" embroidered on the surface of the white hard hat reveal how the promise of protection is sustained in language rather than in the object itself. The red thread stitches do not repair; instead of closing the crack, they make it visible, witnessing the systematic denial of deficiency. Yılmaz's intervention is a silent but sharp warning pointing to the condition of the protection idea that no longer inspires confidence but is operated as a norm – it is a document of a lie worn on the body.

"Lesion" makes visible the medical interventions performed on the body and the traces these interventions leave on the skin. The work, based on the concept of "lesion" which names tissue damage in medical terminology, reconstructs the acts of opening, stitching and shrinking during surgery as bodily records. Here skin is not merely a protective layer but a surface with defined yet violable, fragile and permeable boundaries. The semi-transparency and layered structure of paraffin evokes subcutaneous tissues and scar traces, while the color breaks on the surface carry traces of hematoma resulting from vascular damage. The white porcelain base places the work on the sterile floor of the clinic and lays the body on the table. Focusing on an "interval" where integrity is temporarily disrupted, the work reproduces the traumatic trace through material; transfers bodily fragility to a permanent surface.