Wind moves objects in the areas it affects and affects the stability by creating a wave effect and drift on the surface. In addition to its sensory equivalent, it is almost equivalent to the symbol of freedom as the equivalent of the phrase “Wherever the wind takes you”. The mobility in the structure of the wind has made it possible for it to affect the existence of objects. For example, wind entering from under a covered object ventilates it and causes it to swell. Wind creates many forms on different formations, originating from different effects, and it is believed that wind represents religious and symbolic meanings in various cultures. It can also be thought that wind, which has an imaginative content, can create associations similar to the art of photography in this respect. As it is known, photography can create a nostalgic feeling. For example, a viewer looking at a photographic image of a person who is freezing may be deeply affected by the photograph in question and shiver. In this context, a photograph printed on any surface is concrete in terms of objectivity, whereas the images it represents are emotional, in other words, abstract. Ceramic structures are also inanimate due to their inorganic structure, they do not represent movement but stasis. They are not affected by the wind, but they can make the viewer feel its breeze with a pseudo effect on the surface. The artist’s giving of such an effect on the surface of the ceramic is made permanent by capturing a determined “moment”, just like in photography. In this study, the wind image in the ceramic works of the artist Jeanne Opgenhaffen will be examined with the phenomenological method and the idea that ceramic art also has the possibility of representing the art of photography in the context of the wind image will be attempted to be reached.

Keywords: Ceramic, Photography, Wind, Image, Jeanne Opgenhaffen.