The Digital Painting Kinship, created by the visual artist Enes Güç explores the diversity and community in its core. The work draws inspiration from the many eras of art history and mythology while preserving the contemporaries we live in.

Elegantly utilising the symbols such as energy and metal chains --representation of linked pieces that can transfer energy– connecting each individual, Güç guides us towards how the vibration we share in our communities might affect the elevation of the whole. We witness the physical and mental work that is required to bring our manifestations into our realities both individually and also collectively.

Respecting the identity of each artist involved including Peaches and members of HE.SHE.THEY family, Güç brings them together where the ground below meets the sky above. In this higher realm, lives the people who witness the terror of hell and the beauty of paradise.

Album Artwork For
‘’In Death’s Eyes’’

Petra Hermanova and Unguarded announce In Death’s Eyes (UGD-009), the debut solo LP under the artist’s own name. Over nine tracks, Hermanova utilizes autoharp, voice, and pipe organ in techniques from both folk and sacred traditions to grapple with the spiritual and earthly dimensions of devastating loss and bereavement. In a disciplined display of beauty, pain, and astute musicianship, Hermanova brings forth a notable accomplishment of an album. In Death’s Eyes confronts death from start to finish with a rare fervor that leaves one feeling it was utterly necessary for Hermanova to produce - to survive.

Concept by Enes Güç & Evelyn Bencicova    Album Artwork by Enes Güç      Layout & Ikonography by Odius Rot

Tondals’s Vision,
The Valley of the Exhausted
and Perspiring

Cgi painting extracted from ‘Tondal’. A cyclical hallucinatory journey through hell set within confines of a nightclub by Louis-Jack and Jăk Skŏt. As it comes to my contribution, a full cgi part in the film transport us through different levels, leyers and scales of consciousnes

      Cgi Painting by Enes Güç    Choreography by Magnus Westwell      Performers Oscarjinghuli Max Cookward Kibrea Carmichael       Latex Garments and Costumes AGF Hydr      Music ivvvop         Scanning Patrick Thorn       Project Curator Chardonnie

Welcome to the Saint Dilara Beach Club, the first NFT Island of your summer dreams which was created in colobration with Dilara Findikoglu.

It is a place, on the way to Golden Fleece, where the sun shines in a glamorous silver, where the days are so long that you can live in an endless summer breeze and where the nights are only for joyful dreams.

Climb the stairs, touch to the source and find out about the meaning of your life.

Creative Direction: Dilara Fındıkoğlu
Director, Art Director and 3D Artist: Enes Güç
Art Direction and Lettering: Zeynep Schilling
Sound Design: Studio LABOUR

The Sculpture

Overlooking to the world turning  with the custom made sculpture from Saint Dilara Beach Club.

In the future when Saint Dilara Island will be discovered again, this female icon will remind them of a place that was once ruled by female power.

The Trees

Feeling the breeze with there custom designed trees at Saint Dilara Beach Club.

These unique trees of the Island have the power to create windy shadows five times more breezy than your average tree during hot summer days.

The Sunbed

Getting loose on this custom designed silver sunbed at Saint Dilara Beach Club.

This item was designed to find the perfect environment and product to sleep while doing astral projection.


By Evelyn Bencicova and Enes Güç has been exhibited as part of 'NEW VIEWINGS' a project of Barbara Thumm Galerie in Berlin. Curated by Philipp Bollmann.

There is a lot I can say and so many meanings i find in this project but I genuinely hope that everyone can find their own. Here is the text that was written beautifully by the curator for the work.

The motionless figure of an androgynous giantess occupies almost the entire gallery space in its entangled posture. On its body and around it, small scaffolding grows upwards. But the construction site is deserted. Only the figure, which resembles an avatar, remains in a calm state. A state of "being in between". Between day and night. Between dream and reality or even between life and death? It almost seems as if the figure is still being brought back to life.

One is inclined to think of Mary Shelley, whose novel character Victor Frankenstein created an artificial human being 200 years ago - in a time of great upheaval and discovery. Today we are once again at a historic turning point in technology. Is that what Evelyn Bencicova  and Enes Güç are alluding to here.

Or are they even illustrating a creation of the „Self-image“? The construction of the persona for external perception has advanced to a mania that was only enabled by the possibilities of the digital world. We use our extended abilities to make ourselves appear larger than we presumably are. The oversize of the figure is a testament to this. And the scaffolding becomes a metaphor for the process of construction, work in progress. How will it develop? To what extent can it grow?