Ozgur Ceren Can; In her academic studies on contemporary ceramic art, she determined that the institutions that provide ceramic art education in Turkey are the institutions where Bauhaus and Vkhutemas are institutionalized. Later, while questioning the success of contemporary ceramic artists in blending art and craft equipment with technology and transforming them into artistic design, she saw that not only Bauhaus principles but also Ottoman heritage had a strong influence on this. While creating the “Activity Log” exhibition, Can set out to experience this practice in her own creative process. The artist, together with the tile artist Melike Didar, worked on rumis, hatayi and claws from the Ottoman pattern repertoire loaded with symbolic meanings, and on the axis of these studies, he created a unique ornamental repertoire from pictograms, which are an interactive but representative communication language that is widely used both in the real world and in the digital world. . In the process of preparing the exhibition, the artist's analysis of the roots of pictograms and ceramic decorations dating back to the beginning of prehistoric times and the evolution of ancient visual expression languages also led to the formation of a different series in the exhibition. In order to emphasize the resistance of ceramics and symbols against the destructive power of time, the forms formed by ceramics with references to low-fired primitive pottery emerged in this way.