Born in Istanbul, Su Müstecaplıoğlu is a Manhattan-based photographer. She holds her BFA in Photography from Parsons, The New School for Design. Blending photography and moving images harmoniously in her work, she explores themes of time, culture, politics and poetry.
Her work has been commissioned by various brands including Altuzarra, Anine Bing, Cartier, David Yurman, Derek Lam, Donna Karan, Gabriela Hearst, La Mer, Levi’s, Loro Piana and Oscar de la Renta.
The selected CHROMA pieces feel perfectly at home in Cuna Bar & Lounge—earthy tones of orange and brown blend effortlessly with wooden accents, while soft glows of light adds an atmosphere of depth and warmth to the space.
Scroll on for our conversation with Su and a behind-the-scenes look at the evening’s atmosphere.
You were born in Istanbul and now live and work in Manhattan. How have these two places shaped your eye and artistic sensibilities? How does your multicultural background influence the narratives you create?
Istanbul will always be the home of my soul. Growing up in Türkiye gave me endless visual inspiration. It’s one of the oldest cities in the world, and everywhere you turn you see layers of history; Roman, Ottoman and Turkish all stacked on top of one another. Istanbul is hectic and beautiful, and in a way has a similar vibrant energy to New York. I moved here 15 years ago, and it’s where I feel most myself. Something about the chaos of this city really holds up a mirror. There is something very human about sharing the city with so many people who have big, wild dreams that they achieve or not. I feel endlessly inspired by the energy here, like there is no ceiling to what can happen next.
What early experiences first drew you to photography as a medium?
I always and only ever wanted to be an artist. I started taking painting classes as a child and went on to study painting in high school. I was always photography obsessed and used to curate small gallery shows in my bedroom from cutouts of my favorite local photography and fashion magazines. That is where I fell in love with Edward Weston’s sense of composition, Man Ray’s surrealism, and Francesca Woodman’s self portraits.
Are there artists, writers, or filmmakers who have significantly influenced your practice?
The list is overwhelmingly long and spans art, fashion, music, and film. Off the top of my head, some artists who have shaped how I view the world include Joan Mitchell, Herb Ritts, Sheila Metzner, Francis Bacon, Irving Penn, Terrence Malick, Robert Mapplethorpe, Cindy Sherman, Alex Webb, Philip Lorca diCorcia, Ingmar Bergman, Nan Goldin, David Lynch, Saul Leiter, Duane Michals, Sarah Moon, André Kertész, Ansel Adams, Paolo Roversi, Alex Katz, Rineke Dijkstra, Bill Brandt, Carolyn Drake, Karl Blossfeldt, Alec Soth, Deana Lawson, Paul Graham, Ray Metzker, Sebastião Salgado, Katy Grannan, Larry Clark, Gregory Crewdson, Talia Chetrit, Lee Friedlander, Paul Mpagi Sepuya, Suzanne Koller, Wolfgang Tillmans, Lucian Freud, Josef Albers, Peter Hujar, Vivian Maier, Harry Callahan, Joel Meyerowitz, Diane Arbus, David Hockney, Rinko Kawauchi, Lillian Bassman, Liz Nielsen, Sam Contis, and Hellen van Meene.
I think a lot about land art and human impact. I dream of visiting Michael Heizer’s City someday. I was recently moved by Delcy Morelos’ installation El abrazo at Dia Chelsea, a gigantic earthwork that combines dirt, hay, and scent into something both warm and familiar, yet at times claustrophobic. Another installation that deeply inspired me was Doug Wheeler’s Infinity Room at David Zwirner, which uses light to remove all visual reference points until you lose any sense of what might be in front of you, if anything.
What inspired your selection of works for this installation at Cuna? Is there a particular piece in the installation that feels especially resonant within the atmosphere?
The warm wood of the interiors was the perfect match for these pieces. When we installed them, we could not believe how beautifully they fit within the atmosphere.
How do you hope guests engage with your work as they dine, sip, and move through the space? What do you hope people feel or reflect on when experiencing your work?
The works are lit from within, and the three layers of silk prints encased appear to almost move due to the moiré effect. This is a framing technique I developed specifically for CHROMA. I would love for viewers to feel a sense of play while experiencing this project.
What’s next for you — any upcoming projects or themes you’re excited to explore?
Last year, I spent several weeks sailing across the Arctic Circle as part of an artist residency, during which I continued my practice of creating temporary sculptures within the land. I photographed them, took them down, and created new ones. My next book and exhibition, which will feature these works, will debut in Fall 2026.
