My practice evolves around decision processes through a compulsion of tactility, the processes questions the interplay between the rough materials used in a sculptural context. These materials are oakum, ropes, chains and cables. Plaster is a base material used to bind the roughness of the textures that are created through my sculptures. The action of binding occurs through a deep understanding of how the materials behave with each other and how the relationship between touch and experience can be conducted through different balances, this thought process of balancing is both primal and sophisticated.

The materials I use are violently destroyed then harmonised into the smooth surfaces created with the use of plaster or rope to soften those acts of violence. This controlled chaos created through the sculptures has an unfinished strategy which helps me communicate with my audience as it encourages them to engage and finish each piece in their own minds, re-imagining them just like the process I go through while creating them. 

The layers I create in my sculptures echo the sedimentary layers of civilisation, defining the territory of the acceptable and excluded norms that construct civilisation. The earth that I use, as an organic bond between the future and the past, which turns this process of constructing into a natural act of life, like seeds growing out of ground. However, even though the earthis fresh, the object that grows out of it is diminished, rotten, and no longer alive and this creates the balance and the exchange between the future and the past. 

The way I work is experimental as I am very interested in creating a balance through texture, therefore, my main aim is to introduce new materials to my work to be able to learn new techniques and find out how those materials can be manipulated. The research for my latest piece revolved around working with a more solid base and operating it in a way to be a replace binding material for plaster. Wood and screws turned out to be very contrasting alternatives to work with as a binding material, however, they worked to create a controlled and restrictive environment. The feelings occurring during the making of an artwork plays a big role in being able to express myself with my work and creating restrictions for my own actions due to the fact of having jagged screws as a working ground was a struggle that evoked familiar feelings of living in a corrupt country. The act of destroying, wrapping around,strangling of materials and being constantly scratched by the sharp edges of the screws is a reference to how trapped I feel in my country when expressing myself. Being a Turkish Cypriot and living in the only divided capital where I have to cross borders to see the whole of my country is very restrictive, not being able to come to terms with an identity and all of the labels that come with it, therefore, my actions become my own restrictions in my work.

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