Projects
The Land Will Haunt
The Land Will Haunt
What is not looked at does not fade, it returns. In this VR experience, the audience explores a real landscape believed to be haunted, where turning toward history brings it into focus and turning away lets the haunting grow.
This place is not chosen for atmosphere alone. Kars sits in a region where Armenian and Kurdish histories overlap, and where mass violence and dispossession, including the genocide and the suppression of uprisings, have left traces that are still contested, denied, or kept quiet. The landscape holds that silence. The work treats haunting as a consequence of what is avoided, and asks whether listening can confront what a place is not allowed to say.
Experiment
£20,000
Turn away, and the opposite happens: the past does not fade, it returns as pressure, texture, and a quiet haunting that accumulates around you.
Aims of project
This prototype uses responsive spatial audio driven by head orientation and dwell time. It is not a story you watch. It is a situation you enter, where avoidance becomes an active choice with consequences.
You put on the headset and step into a breathtaking, real landscape, filmed as a single static 360 shot. Nothing moves except you. The piece is built as a game of attention. Turn toward what the land carries and stay there, and the work slowly opens, bringing detail into focus.
Meet the artist
Muhammed Seyyid Yildiz
Lead Artist
Muhammed Seyyid Yildiz is a London-based Kurdish filmmaker and multidisciplinary artist. His award-winning short films have screened internationally at festivals, and he is a Sarajevo Talents alumnus with two master’s degrees in film. His work focuses on silence, repression, and psychological unease, often through folk-horror atmospheres and intimate family dynamics. Form matters in his practice: movement, proximity, breath, and sound are treated as narrative engines. Alongside cinema, he is expanding into immersive storytelling, building experiences with 360 capture and spatial audio where the audience’s attention shapes what is revealed.
