‘My work has always been concerned with the bringing in and interrogating the language popular culture uses and it's relationship with a fine art context. In advertising, a 'teaser" campaign is used as a tactic to generate interest prior to the actual adverts display/ broadcast. Almost an advert for the advert. These types of advertisements usually seem to make no sense. They may ask a question with no specific answer or display an unfamiliar logo with no recognisable brand name. Then, after a short amount of time, the 'reveal' is presented. This then confirms the preceding campaign with answered. The unfamiliar logo is a brand product. The viewer has then engaged with the image, in what appears to be a personal way. The advertiser and view have established a relationship. They have bonded. ‘In my work, I aim to establish this same relationship with the viewer. I display dysfunctional designs on billboards or in public spaces with my name on display. Initially, the view may ask what new product is this advert for? As time pass's and no reveal is presented the work enters into it's aimed, intended area: allowing the view to project their own concerns into the work.’

[LESS]
‘My work has always been concerned with the bringing in and interrogating the language popular culture uses and it's relationship with a fine art context. In advertising, a 'teaser" campaign is used as a tactic to generate interest prior to the actual adverts display/ broadcast. Almost an advert for the advert. These types of advertisements usually seem to make no sense. They may ask a question with no specific answer or display an unfamiliar logo with no recognisable brand name. Then, after a short amount of time, the 'reveal' is presented. This then confirms the preceding campaign with answered. The unfamiliar logo is a brand product. The viewer has then engaged with the image, in what appears to be a personal way. The advertiser and view have established a relationship. They have bonded. ‘In my work, I aim to establish this same relationship with the viewer. I display dysfunctional designs on billboards or in public spaces with my name on display. Initially, the view may ask what new product is this advert for? As time pass's and no reveal is presented the work enters into it's aimed, intended area: allowing the view to project their own concerns into the work.’

‘Mustafa Hulusi is a nobody. Tony Blair is a somebody. But Hulusi is good at re-wiring the meanings of images and ways of presenting images. Blair’s portrait dates back to when he was elected, when it meant youthful, steadfast, visionary, but now it seems to say imperious, defiant, authoritarian...or is that just me? And Mustafa Hulusi has nothing to do with him, even though Hulusi is a Londoner. The weak and the strong, the establishment and the margin, the legitimate authority of an image, which we give it, and what then appears as an aberration. A gatecrasher.’

[LESS]
‘Mustafa Hulusi is a nobody. Tony Blair is a somebody. But Hulusi is good at re-wiring the meanings of images and ways of presenting images. Blair’s portrait dates back to when he was elected, when it meant youthful, steadfast, visionary, but now it seems to say imperious, defiant, authoritarian...or is that just me? And Mustafa Hulusi has nothing to do with him, even though Hulusi is a Londoner. The weak and the strong, the establishment and the margin, the legitimate authority of an image, which we give it, and what then appears as an aberration. A gatecrasher.’