Me, expression

My work explores how personal experiences shape our perception of ourselves, others, and the world we inhabit. Through painting, mixed media, and photography, I examine emotions, memory, attachment, loss, and transformation—not as isolated experiences, but as parts of a continuous process of becoming. I investigate memory, attachment, loss, and transformation as interconnected processes through which identity is continually formed and redefined.

Colour is central to my practice. I approach it as a form of emotional language, capable of communicating sensations and states of mind that resist verbal expression. Through contrasts, gestures, textures, and fragmented forms, I seek to give a tangible presence to experiences that are often internal and difficult to articulate.

My work draws on personal experience, including my understanding of life as a woman, an artist, and an immigrant. Yet autobiography is a point of departure rather than an endpoint. I am interested in the moment when an individual experience becomes recognizable to someone else, allowing the viewer to encounter their own memories, contradictions, and emotions within the work.

Across my collections, I return to questions of continuity and rupture: how we reconstruct ourselves after loss, how memories persist through fragments, and how we assign value to what remains after something has ended. In my photographic project Poubelle, these questions extend to discarded objects and the emotional traces attached to them, opening a reflection on attachment, impermanence, and human worth.

I do not seek to prescribe a single meaning or emotional response. Instead, I create works that invite an active encounter between the viewer and the image. The viewer brings their own history to this encounter, and the work acquires meanings beyond my original experience.

Art becomes a space where the personal and the collective intersect—a way of making inner experience visible while leaving its interpretation open.

My practice explores the shifting states of human experience through colour, gesture, texture, and form. I work with a wide spectrum of emotions and inner states, approaching each painting as an investigation into how an experience can take visual and material shape. Rather than illustrating a particular feeling, I seek to translate its intensity, instability, and movement into the language of painting.

Alongside this exploration, I am interested in challenging the conventional boundaries of the painted surface. Through works composed of multiple fragments, layered elements, and spatial constructions, I extend painting beyond the limits of a single, flat plane. The individual parts become elements of a larger composition, creating relationships between surface, depth, void, and the surrounding space.

These works are conceived not as static images to be viewed from a single position, but as structures that change with the viewer’s perspective. As the angle of observation shifts, different relationships emerge, details become visible or disappear, and the composition reveals new configurations. The painting becomes an experience that unfolds in space and through movement.

For me, this approach is a way of expanding what painting can be: not simply an image contained within a two-dimensional format, but a physical presence that interacts with its environment and with the person looking at it. The work exists in the tension between its individual components and the whole they form, between what is immediately visible and what can only be discovered through a change in perspective.

Whether working with colour fields or fragmented constructions, I return to the possibility of painting as an open and evolving experience — one in which emotional intensity, material presence, and spatial perception become inseparable.

My work explores the fragile border between what we keep and what we discard — objects, memories, relationships, and sometimes even parts of ourselves.

I work primarily with recycled and discarded materials: plastic, broken glass, flowers, packaging, fragments of everyday life. These materials already carry histories. They are objects that once belonged to moments of intimacy, celebration, routine, or love, before being thrown away. By reconstructing them into photographic compositions, I attempt to transform waste into emotional landscapes.

The series Poubelle was born during my years living in France as a young immigrant artist. Being half Turkish and half Russian, I often felt suspended between cultures, languages, and identities. Migration created both freedom and vulnerability — a constant negotiation between visibility and invisibility.

At the same time, as a young woman working in the art world, I repeatedly encountered the tension between being perceived as a body and being recognized as an artist. This experience deeply shaped the way I approach my work.

In Poubelle, discarded materials become metaphors for emotional residue — the traces left behind after love, conflict, disappointment, or transformation. Objects that society considers useless begin to reveal unexpected beauty, fragility, and meaning.

Throughout the series, the boundary between body and object slowly dissolves. At certain moments, my own body appears within the compositions, confronting the unsettling question:

Can a person also become something that society discards?

Each chapter of the project reflects a different emotional stage: love, loss, survival, magic, resilience, and the struggle to reclaim identity.

Through light, reflection, and fragile arrangements of recycled materials, the work seeks to transform what is usually rejected into something poetic and luminous.

Poubelle is not only about waste.

It is about memory, vulnerability, and the possibility of rebuilding meaning from fragments.

In the photographic series Poubelle, discarded objects become emotional archives. Plastic bags, broken glass, wilted flowers, fragments of jewelry and domestic objects are transformed into luminous compositions that oscillate between beauty and decay. Through carefully constructed scenes and experimental lighting, the artist reimagines waste as a material of memory.

Created during years of migration and personal transformation, the series reflects the complex experience of living between cultures. Born between Turkish and Russian identities and working in France, the artist navigates a space of in-between — where belonging is fluid and constantly negotiated.

The work also addresses the experience of being a young woman within contemporary society and the art world, where appearance can sometimes overshadow artistic voice. In response, the artist integrates her own body into the compositions, blurring the boundary between subject and object.

Throughout the project, trash becomes a metaphor for emotional residue — the material traces left behind after relationships, expectations, and identities collapse. Yet within this landscape of abandonment, unexpected moments of beauty emerge. Light reflects across broken surfaces, fragments resemble constellations, and discarded materials begin to reveal new forms of meaning.

Structured in several chapters, the series moves through stages of intimacy, loss, resilience, and transformation.

Poubelle ultimately asks a quiet but unsettling question:

What happens to the parts of our lives that no longer have a place — and can something new be created from what has been discarded?