“I often describe it as -fifty fifty- a space where contradictions are not resolved but held together.“

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My work begins in an in between state. I was born in New York, raised largely in Turkey, and chose Istanbul as home. This constant shifting between cultures, identities, and ways of seeing forms the core of my practice. I often describe it as “fifty fifty” a space where contradictions are not resolved but held together.<br /> <br /> I come from multiple lineages at once Turkish and American, Jewish and Armenian and this layered identity naturally resists fixed definitions. Instead of choosing a side, I stay in the tension. That tension becomes a way of looking, a way of producing, a way of understanding the world.<br /> <br /> I am deeply inspired by the visual noise of everyday life. Turkish popular culture, street encounters, forgotten figures, media icons, and ordinary moments all feed into my work. From Aysel Gürel to Cüneyt Arkın, from street kids to digital personas, these fragments of collective memory are not just references, they are living material. I rework them through a pop driven and multidisciplinary approach, often using repetition, color, and humor to shift how they are perceived.<br /> <br /> My intention is not to search for hidden meaning behind the image, but to confront the image itself. I am interested in form, in contradiction, in what is visible and yet overlooked. I try to create a moment where the viewer’s gaze is interrupted, almost awakened, where something familiar suddenly feels strange again.<br /> <br /> There is also a personal layer shaping this process. Dyslexia has influenced how I read, interpret, and reconstruct visual language. It pushes me toward fragmentation, reassembly, and alternative structures of meaning. Humor becomes a tool here not to soften, but to open space.<br /> <br /> I do not position my work within a critique that divides or judges. Instead, I move toward a more inclusive and accepting ground. What appears flawed or misplaced is not removed but embraced. I am interested in a democratic visual language where contradictions coexist, where differences are not categorized but held together.<br /> <br /> Ultimately, my work invites a simple but essential realization<br /> we may be looking at the same thing, yet we never truly see it the same way.
My work begins in an in between state. I was born in New York, raised largely in Turkey, and chose Istanbul as home. This constant shifting between cultures, identities, and ways of seeing forms the core of my practice. I often describe it as “fifty fifty” a space where contradictions are not resolved but held together.

I come from multiple lineages at once Turkish and American, Jewish and Armenian and this layered identity naturally resists fixed definitions. Instead of choosing a side, I stay in the tension. That tension becomes a way of looking, a way of producing, a way of understanding the world.

I am deeply inspired by the visual noise of everyday life. Turkish popular culture, street encounters, forgotten figures, media icons, and ordinary moments all feed into my work. From Aysel Gürel to Cüneyt Arkın, from street kids to digital personas, these fragments of collective memory are not just references, they are living material. I rework them through a pop driven and multidisciplinary approach, often using repetition, color, and humor to shift how they are perceived.

My intention is not to search for hidden meaning behind the image, but to confront the image itself. I am interested in form, in contradiction, in what is visible and yet overlooked. I try to create a moment where the viewer’s gaze is interrupted, almost awakened, where something familiar suddenly feels strange again.

There is also a personal layer shaping this process. Dyslexia has influenced how I read, interpret, and reconstruct visual language. It pushes me toward fragmentation, reassembly, and alternative structures of meaning. Humor becomes a tool here not to soften, but to open space.

I do not position my work within a critique that divides or judges. Instead, I move toward a more inclusive and accepting ground. What appears flawed or misplaced is not removed but embraced. I am interested in a democratic visual language where contradictions coexist, where differences are not categorized but held together.

Ultimately, my work invites a simple but essential realization
we may be looking at the same thing, yet we never truly see it the same way.

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