In this context, the water image created to represent death takes a different form, referencing the notes written on the sinner's backside fleeing from hell in Bosch’s The Garden of Earthly Delights. The harp, considered an instrument of water, embodies the sound of hell with a mechanical tone and solidifies death through velvet fabric, using the codes of this time to materialize it.
Sari examines and analyzes the approach to reality through the psychoanalytic interpretations of object perceptions. The artist bases her works on observations of extroverted characters, always ready to reveal their psychological states. Based on the impressions these characters' behaviors leave on her, she produces works in kinetic art, new media, and installations. In her works, she consciously aims to generate intense emotion by analyzing technology in its most primitive form. She is in pursuit of experiencing and making others experience the emotions lost with the advancement of technology through the technology itself.
Against the distinction between conscious existence and others in traditional philosophy, Sari's works position objects as actors. She believes that objects, even at a primitive level, have consciousness and aims to produce works that oppose the differentiation of consciousness levels. Like in posthumanism, she adopts a view of existence where everything is interconnected and equal, referred to as a horizontal ontology. For her, things are interconnected and cannot be abstracted from one another. In this sense, the organic structure she tries to establish with objects requires a process that enables her to convey her subjectivity while relinquishing it. In this case, Sari mentally distances herself from the chaos of being human, shedding the egos of being human. With every encounter, she transforms into a different individual, turning into a more perceptive subject model, mentally distancing herself from the chaos of being human. Sari values witnessing the moment when this same empathy process is spiritually transferred to the viewer and reader, incorporating them into this cycle. Because she feels that if a person embarks on the path of empathizing with an object, they are already beyond the point of empathizing with a human being.