In his series where he searches for the roots of the sense of continuity in spaces, Saray focuses on Türkiye’s collective memory spaces: Dolmabahçe Palace, Istanbul University, Istanbul Painting and Sculpture Museum, AKM, Haydarpaşa Train Station and Sansaryan Han are the subjects of Saray’s drawings.

Saray’s drawings include a call for the preservation of memory and interrupted lines that emphasize its loss. Preserving memory, establishing archives, and remembering anniversaries require effort and repetition. Memory creates rituals. It re-inserts moments/spaces from the past into the present. It anchors memory spaces in a place where we can no longer easily inhabit them but feel deeply connected to them and distance ourselves enough to archive them.

In his series titled The Threshold of Forgetting, Saray proposes to re-examine the images he has monumentalized as a place of memory. These images emerge as representations of a power struggle. He marks the focal areas of the struggle between those who will remain in history and those who will disappear on an imaginary map. Saray’s map is inspired by psychogeography as a way of experiencing the city. Focusing on the effects of urban space on the emotions and behaviors of the individual, the concept of psychogeography is a concept developed by the Situationist International in the 1950s. He suggests wandering “idle” and being open to unexpected encounters and feelings in order to reduce the constricting effect of speed-based and repetitive behaviors in the city. In this sense, psychogeographic maps re-define and re-define an emotional action area based on creativity in revealing the unseen potential in the city.