Composed, Reshaped and hand-stitched, my sculptures are made up of recycled knick-knacks, pre-owned clothing, abandoned furniture and orphan dolls. The use of pre-owned wearable and textile in my work – along with practicing the traditional folk act of stitching and patching – has helped me bring a palpable level of intimacy to my work. Collecting the abandoned pieces of clothing or house items, which have at some point been intimately in touch with the human body, and marrying them artistically in my art, is rather a try to reconnect with the pasts and bring back the lost intimacy.
I try to capture the body in the instant of exposing– whether it is pain, pleasure, blood, a baby or other physical or conceptual bodily discharges. These soft forms created from pre-owned textiles, also project vulnerability while evoking motion. The used materials in my work, are not only representative of past experiences, but also reminiscent of lost innocence. My artistic practice borrows its identity, both in form and concept, from the unity of the dichotomies.
In my making, I often put together the contrary to achieve the optimum: giveaway and invaluable, pappy and concrete, old and new. Stitches that are both controlled and disorderly unify the soft materials to solid furnishings, creating large figurative sculptures that evoke feminine tropes and bodily dysfunctions.
Above everything that happens in my work, there is always (self)portrait of a woman enduringly exposed and in solitude. I make the female figures in different roles or states of being; whether she’s vulgar, maternal or cartoonish, she is nevertheless engaged in a lively act of releasing and exposing. And this sacred act is what defines her and puts her in a position of reverence.