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.
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.
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.
Screenprint, embroidery floss, glass beads, thread, sequins, interfacing, yarn crochet on found handkerchief
17”x26”
2022
Screenprint, acrylic paint, embroidery floss, glass beads, sequins, thread, yarn crochet on found bedsheet
22”x31”
2022
two: Ceramic, cotton fabric (pazen), solvent photo transfer, glass beads, embroidery floss, sequins, crochet yarn on found bedsheet 8”x30”
2022
Solvent transfer, acrylic paint, embroidery floss, fringe, yarn crochet on found bedsheet
2022
Solvent photo transfer, acrylic paint, embroidery floss, sequins, thread, silkscreen, yarn crochet on found bedsheet
60"x30"
2022
Solvent photo transfer, block print, glass beads, embroidery floss, sequins, thread, crochet yarn on found, quilted bedsheet
50”x60”
2022
Solvent photo transfer, acrylic paint, embroidery thread, cotton fabric (pazen), crocheted yarn, thread, bedsheet
39” x 33.5”
2022
Solvent transfer, acrylic paint, embroidery floss, sequins, beads, yarn crochet on found bedsheet
28” x 20”
2022
Ceramic, cotton fabric (pazen), solvent photo transfer, glass beads, embroidery floss, sequins, crochet yarn on found bedsheet
8”x30”
2022
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.
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.
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.
Screenprint, embroidery floss, glass beads, thread, sequins, interfacing, yarn crochet on found handkerchief
17”x26”
2022
Screenprint, acrylic paint, embroidery floss, glass beads, sequins, thread, yarn crochet on found bedsheet
22”x31”
2022
two: Ceramic, cotton fabric (pazen), solvent photo transfer, glass beads, embroidery floss, sequins, crochet yarn on found bedsheet 8”x30”
2022
Solvent transfer, acrylic paint, embroidery floss, fringe, yarn crochet on found bedsheet
2022
Solvent photo transfer, acrylic paint, embroidery floss, sequins, thread, silkscreen, yarn crochet on found bedsheet
60"x30"
2022
Solvent photo transfer, block print, glass beads, embroidery floss, sequins, thread, crochet yarn on found, quilted bedsheet
50”x60”
2022
Solvent photo transfer, acrylic paint, embroidery thread, cotton fabric (pazen), crocheted yarn, thread, bedsheet
39” x 33.5”
2022
Solvent transfer, acrylic paint, embroidery floss, sequins, beads, yarn crochet on found bedsheet
28” x 20”
2022
Ceramic, cotton fabric (pazen), solvent photo transfer, glass beads, embroidery floss, sequins, crochet yarn on found bedsheet
8”x30”
2022