The artist deals with the borders between inner and outer forms, or the usage of light and reflections. His current series is solid and does not show transparency anymore. This solidness underlines the formal being of the sculpture, whereas in his earlier transparent works, Pirim aimed at dissolving the surface for merging the sculpture with the space that is surrounding it.
Currently, in many sculptures, there is a tension between straight and plain parts of their surfaces in contrast to sections that are fragmental and divided by dozens of lines. These lines result from the various layers out of which the work consists. Somehow, while observing the various surfaces fighting for the attention of the eye of the spectator, it seems that a dichotomy between coherent and partial parts as well as a fight between hegemony and opposition within one system occurs.
In Seçkin Pirim's latest works, we again see obsessive symmetry. This time the artist is influenced by Ottoman and Byzantine architecture. He multiplies the old city skyline in his system. He combines the details that he formed in his memory with the motifs that came out of the history. As each artwork unfolds it forms its own history.