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 DEMIR TEZCAN
EUROTRASH
€UROTRASH
(2026)

Eurotrash Magazine is a satire project about how everything gets packaged and sold back to you. Even rebellion. Even ugliness. The covers use distorted mugshots (left/right) and a friend's photo project (center) to create a collaged, glitched feel. The idea: beauty used to be the product. Now 'underground' and 'punk' are just new labels for the same machine. The magazine mocks the idea of being 'authentic' while still wanting you to consume it.  The typographic language of Eurotrash draws directly from late90s underground rave flyers and Tattoo flash sheets. The main goal was to be raw, repetitive, and intentionally anti‑hierarchical. 
SPACEFESTIVAL
Space Festival
(2025)
Space Festival is a visual experiment focused on materiality and process. Starting with digital compositions, I applied distortion, color grading, and layered textures. The images were then printed, reassembled, and rescanned to create a physical/digital contrast. The goal was not to build a narrative but to test how analog intervention transforms a purely digital output. The result is a study in texture, reproduction, and the friction between screen and paper.
BECAUSE OF THE INTERNET
Because of the Internet
(2025)



Because of the Internet, is a zine that includes a collection of different visual expriments that are about fragmentations of reality. The collages treats the act of remembrance and memory like how an old computer tries to process damaged files. The images break apart, distort, repeat and overlap and lose their original core. In the age of the internet, personal memory becomes intertwined with screens, feeds, glitches, even the happiest moments include the technological. The works explore how the internet has transformed remembrance into an act of endless reconstruction. The more a memory is revisited, the less certain it becomes. eventually, all that remains is a ghost of the original, endlessly copied, endlessly compressed, endlessly distorted and forever out of reach, all in low resolution.

This project explores the relationship between analog and digital image-making through an iterative collage process. For each page; Starting from eight individual compositions, I manipulated each piece digitally before reassembling them into a final handmade collage. By moving images back and forth between physical and digital spaces, I aimed to create visual friction between texture, reproduction, and authorship. The work is heavily informed by internet culture, self-published zines, and my ongoing interest in collecting, remixing, and recontextualizing found image.
BECAUSE OF THE INTERNET
Because of the Internet
Exprimental Video
(2025) For this project, I collected fragments from archival YouTube videos and reassembled them into layered visual compositions. Through cutting, collaging, and sequencing found imagery, I sought to recreate the sensation of being gradually absorbed into a digital space.

To reinforce this feeling of immersion, I incorporated frame-by-frame paper animations, allowing physical and digital elements to coexist within the same visual system. The resulting work reflects my interest in image accumulation, internet archaeology, and worldbuilding through fragmented media, transforming existing content into a new visual narrative shaped by memory, obsession, and online experience.
STAY AWAY FROM PHONES
Stay Away From Phones
(2025)
Stay Away From Phones is a fully digital project that mimics analog decay intentionally. The paper textures, shutter shock on the Jamaica flag, and watermarks are all fabricated — there is no physical material. What interests me is how early internet and analog errors (glitches, distortion, compression) were once unintentional, but now we recycle them as a deliberate aesthetic. We’ve grown tired of polished content designed purely for consumption. People want to see imperfect, personal expression again. So we bring back the 2000s look not to nostalgiabait, but because even distortion has become a language of authenticity.

NADAN FASHION FILM
NADAN Fashion Film
(2026)

Creative Direction, Cinematography & Post-Production


Created for an emerging fashion brand, this project was entirely conceived, directed, filmed, and edited by me. From the initial visual concept and creative direction to cinematography and post-production, every stage of the process was developed as part of a cohesive visual exploration.


The project investigates the relationship between physical and digital textures. Using projection mapping, pre-generated video content was projected directly onto the model and re-captured through the camera, creating a dialogue between body, texture, and moving image.

The footage was then subjected to an extensive post-production process, where glitch treatments, layered effects, and digital manipulations were used to generate new visual states. By stacking physical and synthetic textures, the project explores image transformation as a tool for world-building, resulting in a visual language that exists between the organic and the artificial.



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