Invited to a one-day pop-up exhibition at the Istanbul Literature House, I used the brevity of the exhibition time as a departure point. The Literature House has bay windows, which, in the Ottoman context, were used as semi-private spaces that women could use to see more of the world—during the Ottoman times, women’s presence in the public space was limited, to say the least. The apparent benevolence of this bay window triggered me to think about it in terms of the harsher, opaque materiality of cement. The two sculptures are based on drawings of the light coming in from the bay window at two different points of the day—a physically impossible co-existence, made permanent through cement. In the next room were two site-specific wooden sculptural interventions, one concave, one convex, positioned diagonally from each other. The idea was to separate one whole into two complementary halves and place them across from each other to produce a spatial tension, again creating an impossible co-existence. The photograms of ice melting were placed throughout the exhibition to draw upon making permanent fleeting presences and temporalities.