İsmet Çavuşoğlu expressed the following about the video work:
''In 1938, writer André Breton and poet Paul Éluard's Exposition Internationale du Surréalisme exhibition held at Galerie Beaux-Arts in Paris and 'Résurrection des Mannequins', which consists of 15 black and white photographs produced by Man Ray for the exhibition are my references in the creation of the video. This exhibition marks a very definite breaking point in the development of today's contemporary art. Art does not show a linear development like the formation and emergence of philosophical thoughts, on the contrary, it turns upside down or changes direction at certain points. Of course, this also touches on the relationship between art and philosophy. For example, we can see the 'Phenomenology of Perception' concept introduced by the philosopher Merleau-Ponty in the 1940s, and the permanent reflection of the individual's interaction with the surrounding environment on the artists of the 1960s and especially on minimalist art. In this sense, the 'Résurrection des Mannequins' video can point to a very critical geography like Turkey and create socio-political comments all of a sudden, but the starting point is very different as a concept. For many years, I had the thoughts that the only direction of progress reached by questioning the meaning and given value of countless art objects produced under the concept of readymade is 'to put these objects back into operation'. In this examination, mannequins can be seen both as readymade objects in Man Ray's photographic fictions in terms of art history, and their use in daily life also indicates this. In this sense, I give roles to models as actors in a fictional film set. The hidden effect of the camera creates a more 'voyeuristic' and follower feeling as I often use the technique called PoVshot in cinematic language.''
