be(n)lik, kapanmis bir defter (a closed conversation) (2024) is an installation consisting of a 106 metre-long braided rope alongside a conceptual recreation of a traditional Cypriot woven chair. The title, including a play on the Turkish words ‘plait’ (belik) and ‘my essence’ (benlik), is also an homage to ideas of closed practices in the occult where you are allowed to take part in their craft if you were born into the community, embodying the sacred and intimate conversations I’ve opened up with myself through the process of braiding, and therefore not allowing a space for the discussions of others to take place but my own.

Layered with an amalgamation of thoughts, actions and processes, the installation comes together from my perception of invisible women’s craft, textiles and weaving as a tool for creation, communication, personal exploration and connectedness to cultural heritage. The traditionally significant patterns I have chosen and individually hand-painted onto the muslin are patterns commonly found in Cypriot weavings of Fythkiotika and Lefkara works.

My journey of braiding has been an important introspective process in overcoming social boundaries and narratives placed on myself, using materials I have safely reclaimed and silently resisted through.

Moving to North England to work and continue my art practice – renting a studio space while applying to internships and residency opportunities – aiming to work towards curating opportunities and collaborating with other artists.