The title “Homo Fragilis”, meaning "fragile man" in Latin, was chosen to investigate the idea of safe symbiosis and promises of prosperity through the essential ties of family and ownership. The exhibition facilitates a debate on the social destiny of a person who has to choose between the sheltered route of coexistence and property accumulation, and the challenges and risks of survival on their own. The transformation of luxury into needs and needs into luxury is like a rampant spirit haunting the show.
Parallel to his previous solo exhibitions, Seymen experimented with painting, drawings, video, sculptures, sound and other media for Homo Fragilis. Here, man-made objects appear to exhibit human behavior and their own will, at times even competing with human willpower (“The Volunteer”, “The Meeting”, “The Worrying Mansion”, “Perpetuum Mobile”). These objects, which the artist chose to approach with the meticulousness of portraiture, evaluate, worry, and make decisions.
Within the exhibition, hetero-patriarchy (“Sorcerer’s Wife”, “Homo Fragilis”) and colonialism (“Sketches for a Paradise”), appear as the two driving forces and collaborators of capitalism. In this function, they permit to address the system of ownership by moving between the familial scale and the societal scale.
Family imitates society, and society imitates family; in an instance equal sharing and solidarity proposals can be replaced by a deep inequality and systematic exploitation, common interests can easily become overridden by individual interests in both areas of life.