Tres Hermanas
Tres Hermanas

Solvent transfer, acrylic paint, embroidery floss, sequins, fishing line, yarn crochet on found bedsheet
66”x76”
2024

I repeatedly blend a photograph of my aunts with an archival image of immigrant American sisters on a found bed sheet. Inspired by the Indigenous peoples "three sisters" farming method, where beans, squash, and corn thrive in symbiosis, my work reflects on complex relationships. The solvent-transferred photographs are highlighted with transparent acrylic paint and machine-sewn yarn lines. Visual symbols and textured materials, like sequined corn or a 3D tongue embroidery, embellish this blob with complex biological and bicultural bonds.

I weave these women together, symbolizing familial links, and the interplays of cooperation and conflict. Despite tensions, like those among my aunts, they form an intertwined entity akin to companion plants. The crescent-shaped, detached limb features photos of my arm in various gestures with an Ottoman carnation pattern signifying love. Thinking about non-verbal language, these gestures of wagging a finger or a hug mean to span the intergenerational dialogue and understanding of human connection.

Immigrant Species (garlic mustard)
Immigrant Species (garlic mustard)

Solvent transfer, acrylic paint, embroidery floss, sequins, glass beads, fishing float, fly-fishing mayfly tail, plastic evil eye, yarn crochet on digitally made pattern printed on canvas
44”x75”
2024

The underlying pattern is digitally fabricated from a garlic mustard photo and printed on canvas during my yearlong hybrid artist residency at Indiana University Bloomington. Struck by a sign discussing "immigrant species" during a hike there, the piece reflects on the spread of life forms and the lack of borders in nature. As I meditate on life’s organic propagation, I adorn the work with acrylic paint, sequins, beads, and embroidery, resembling seeds spreading without borders like the stubborn weeds in my garden.

ID card-like rectangles feature immigrants in traditional attire photographed by Augustus Francis Sherman, a registry clerk at Ellis Island. My childhood photos in Turkish folk outfits are a recurring motif on the edges, signifying fashion in identity formation and assimilation.

Midwest-inspired elements, like fly-fishing gear from trips with my Hoosier husband, add regional flair, sparking thoughts on local adaptation. Interestingly, materials from fishing stores, often perceived as male spaces, blur traditional notions of masculinity with their vibrant colors resembling craft supplies.

Amulets (from left to right: has a mouth, but no tongue, dark waters fall on my feet, came to the eye, health to your hands)
Amulets (from left to right: has a mouth, but no tongue, dark waters fall on my feet, came to the eye, health to your hands)

Ceramic, cotton fabric (pazen), solvent photo transfer, glass beads, embroidery floss, sequins, crochet yarn on found bedsheet
around 8”x30” each
2023

During my upbringing in Turkey, my mother ensured my protection through an array of amulets—a pinned evil eye on my attire or a discreetly placed date seed in my purse were among the objects believed to possess protective powers. Reflecting on this practice, common among various world cultures with enduring traditions, I've embarked on crafting my own mixed media amulets, drawing inspiration from individual body parts and dynamic images of my body in motion. Utilizing natural materials reminiscent of those employed by traditional amulet artisans—such as ceramics, beads, and fabric—I fashion these talismans designed to safeguard a space. These creations prompt contemplation: What safeguards us, and why do we seek protection? Can objects hold power when there is faith? The titles come from translated Turkish sayings that reference the explored body part; for instance, "has a mouth, but no tongue" means quietude.

Pinky Promise
Pinky Promise

Screenprint, embroidery floss, glass beads, thread, sequins, interfacing, yarn crochet on found handkerchief
17”x26”
2022

Sum of Us
Sum of Us

Screenprint, acrylic paint, embroidery floss, glass beads, sequins, thread, yarn crochet on found bedsheet
22”x31”
2022

Amulets (left: has a mouth, but no tongue, right: came to the eye),
Amulets (left: has a mouth, but no tongue, right: came to the eye),

two: Ceramic, cotton fabric (pazen), solvent photo transfer, glass beads, embroidery floss, sequins, crochet yarn on found bedsheet 8”x30”
2022

Amulet: foot
Amulet: foot
Yellow Shawl
Yellow Shawl

Solvent transfer, acrylic paint, embroidery floss, fringe, yarn crochet on found bedsheet
2022

YellowShawl-back-web.jpg
Partition
Partition

Solvent photo transfer, acrylic paint, embroidery floss, sequins, thread, silkscreen, yarn crochet on found bedsheet
60"x30"
2022

Get in line
Get in line

Solvent photo transfer, block print, glass beads, embroidery floss, sequins, thread, crochet yarn on found, quilted bedsheet
50”x60”
2022

Families Pazen
Families Pazen

Solvent photo transfer, acrylic paint, embroidery thread, cotton fabric (pazen), crocheted yarn, thread, bedsheet
39” x 33.5”
2022

Apron
Apron

Solvent transfer, acrylic paint, embroidery floss, sequins, beads, yarn crochet on found bedsheet
28” x 20”
2022

Ottoman Celebrity Magazine
Ottoman Celebrity Magazine
Sisters_web.jpg
Amulet: has a mouth, but no tongue
Amulet: has a mouth, but no tongue

Ceramic, cotton fabric (pazen), solvent photo transfer, glass beads, embroidery floss, sequins, crochet yarn on found bedsheet
8”x30”
2022

LoverWomen-web-detail1.jpg
LoverWomen-web-detail2.jpg
LoverWomen-web-detail3.jpg
Families-web-detail1.jpg
Families-web-detail2.jpg
LoverWomen2-web-detail1.jpg
LoverWomen2-web-detail2.jpg
FamiliesPazen-web-detail1.jpg
FamiliesPazen-web-detail2.jpg
FamiliesPazen-web-detail3.jpg
FamiliesPazen-web-detail4.jpg
Partition-detail2.jpg
Partition-detail3.jpg
Partition-detail4.jpg
Tres Hermanas
Immigrant Species (garlic mustard)
Amulets (from left to right: has a mouth, but no tongue, dark waters fall on my feet, came to the eye, health to your hands)
Pinky Promise
Sum of Us
Amulets (left: has a mouth, but no tongue, right: came to the eye),
Amulet: foot
Yellow Shawl
YellowShawl-back-web.jpg
Partition
Get in line
Families Pazen
Apron
Ottoman Celebrity Magazine
Sisters_web.jpg
Amulet: has a mouth, but no tongue
LoverWomen-web-detail1.jpg
LoverWomen-web-detail2.jpg
LoverWomen-web-detail3.jpg
Families-web-detail1.jpg
Families-web-detail2.jpg
LoverWomen2-web-detail1.jpg
LoverWomen2-web-detail2.jpg
FamiliesPazen-web-detail1.jpg
FamiliesPazen-web-detail2.jpg
FamiliesPazen-web-detail3.jpg
FamiliesPazen-web-detail4.jpg
Partition-detail2.jpg
Partition-detail3.jpg
Partition-detail4.jpg
Tres Hermanas

Solvent transfer, acrylic paint, embroidery floss, sequins, fishing line, yarn crochet on found bedsheet
66”x76”
2024

I repeatedly blend a photograph of my aunts with an archival image of immigrant American sisters on a found bed sheet. Inspired by the Indigenous peoples "three sisters" farming method, where beans, squash, and corn thrive in symbiosis, my work reflects on complex relationships. The solvent-transferred photographs are highlighted with transparent acrylic paint and machine-sewn yarn lines. Visual symbols and textured materials, like sequined corn or a 3D tongue embroidery, embellish this blob with complex biological and bicultural bonds.

I weave these women together, symbolizing familial links, and the interplays of cooperation and conflict. Despite tensions, like those among my aunts, they form an intertwined entity akin to companion plants. The crescent-shaped, detached limb features photos of my arm in various gestures with an Ottoman carnation pattern signifying love. Thinking about non-verbal language, these gestures of wagging a finger or a hug mean to span the intergenerational dialogue and understanding of human connection.

Immigrant Species (garlic mustard)

Solvent transfer, acrylic paint, embroidery floss, sequins, glass beads, fishing float, fly-fishing mayfly tail, plastic evil eye, yarn crochet on digitally made pattern printed on canvas
44”x75”
2024

The underlying pattern is digitally fabricated from a garlic mustard photo and printed on canvas during my yearlong hybrid artist residency at Indiana University Bloomington. Struck by a sign discussing "immigrant species" during a hike there, the piece reflects on the spread of life forms and the lack of borders in nature. As I meditate on life’s organic propagation, I adorn the work with acrylic paint, sequins, beads, and embroidery, resembling seeds spreading without borders like the stubborn weeds in my garden.

ID card-like rectangles feature immigrants in traditional attire photographed by Augustus Francis Sherman, a registry clerk at Ellis Island. My childhood photos in Turkish folk outfits are a recurring motif on the edges, signifying fashion in identity formation and assimilation.

Midwest-inspired elements, like fly-fishing gear from trips with my Hoosier husband, add regional flair, sparking thoughts on local adaptation. Interestingly, materials from fishing stores, often perceived as male spaces, blur traditional notions of masculinity with their vibrant colors resembling craft supplies.

Amulets (from left to right: has a mouth, but no tongue, dark waters fall on my feet, came to the eye, health to your hands)

Ceramic, cotton fabric (pazen), solvent photo transfer, glass beads, embroidery floss, sequins, crochet yarn on found bedsheet
around 8”x30” each
2023

During my upbringing in Turkey, my mother ensured my protection through an array of amulets—a pinned evil eye on my attire or a discreetly placed date seed in my purse were among the objects believed to possess protective powers. Reflecting on this practice, common among various world cultures with enduring traditions, I've embarked on crafting my own mixed media amulets, drawing inspiration from individual body parts and dynamic images of my body in motion. Utilizing natural materials reminiscent of those employed by traditional amulet artisans—such as ceramics, beads, and fabric—I fashion these talismans designed to safeguard a space. These creations prompt contemplation: What safeguards us, and why do we seek protection? Can objects hold power when there is faith? The titles come from translated Turkish sayings that reference the explored body part; for instance, "has a mouth, but no tongue" means quietude.

Pinky Promise

Screenprint, embroidery floss, glass beads, thread, sequins, interfacing, yarn crochet on found handkerchief
17”x26”
2022

Sum of Us

Screenprint, acrylic paint, embroidery floss, glass beads, sequins, thread, yarn crochet on found bedsheet
22”x31”
2022

Amulets (left: has a mouth, but no tongue, right: came to the eye),

two: Ceramic, cotton fabric (pazen), solvent photo transfer, glass beads, embroidery floss, sequins, crochet yarn on found bedsheet 8”x30”
2022

Amulet: foot
Yellow Shawl

Solvent transfer, acrylic paint, embroidery floss, fringe, yarn crochet on found bedsheet
2022

Partition

Solvent photo transfer, acrylic paint, embroidery floss, sequins, thread, silkscreen, yarn crochet on found bedsheet
60"x30"
2022

Get in line

Solvent photo transfer, block print, glass beads, embroidery floss, sequins, thread, crochet yarn on found, quilted bedsheet
50”x60”
2022

Families Pazen

Solvent photo transfer, acrylic paint, embroidery thread, cotton fabric (pazen), crocheted yarn, thread, bedsheet
39” x 33.5”
2022

Apron

Solvent transfer, acrylic paint, embroidery floss, sequins, beads, yarn crochet on found bedsheet
28” x 20”
2022

Ottoman Celebrity Magazine
Amulet: has a mouth, but no tongue

Ceramic, cotton fabric (pazen), solvent photo transfer, glass beads, embroidery floss, sequins, crochet yarn on found bedsheet
8”x30”
2022

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