His series Dekor is based on the “image-ability of the built environment” a criterion Kevin Lynch discussed in his book titled The Image of the City which was published in 1960. The artist considers the following sentences in the book as the preparatory point of the series: ‘At every instant, there is more than the eye can see, more than the ear can hear, a setting or a view waiting to be explored. Nothing is experienced by itself, but always in relation to its surroundings, the sequences of events leading up to it, the memory of past experiences.’
Building upon his previous works of abandoned buildings where the lines between interior-exterior get blurred because of their uninhabited nature, Özcan’s Dekor series creates connections between these architectural spaces and the city. Through his collage arrangements, which consist of the materials collected from public and private archives, alongside the photographs taken by Özcan, he analyzes different layers of identity and reality that that contain clues about how city life has been designed in the recent past and what other realities it occupied. He questions social categorization of daily life; he interprets the social structures which classify citizens in the form of human, animal and plants in a surrealistic way.