What kind of an experience was your exhibition that you have prepared for BAUART called "Backstage" in last October? 

Jochen Proehl, who is the director of Istanbul Berlin Art Bridge and the curator of BAUART, asked me if I wanted to hold an exhibition. There were a couple of projects I was working on at the time and Jochen has made his choice on the direction of paintings. Although I have ad my education on sculpture in the academy, I have been drawing and painting all the time. Yet, I have been avoiding to consider myself as a painter. Because, my drawings looked like sketches for me. Though my dad was trying to convince me by saying "you are drawing, so you are an artist". (she laughs) I prepared the exhibition almost in nine months and this was the first exhibition, which I managed to gather all my practice. It made me so happy to integrate my works with the exhibition venue. Because, I have been working on the arrangement of works and the style of exhibiting for a long time as well. 

Yes they seriously looked impressive. The installations in the venue were also accompanied by empty frames. What was your purpose on devising this?

The drawings I made and my installation style reminds the stage design and back stage of a theatre. I kept this in my mind when I was preparing the exhibition. In fact that was what I was thinking when I started drawing the pictures. Also these empty frames form a space for relief for the crowded scenes I drew.

Did you want the whole of this scenes turn into a story for the spectator?

I usually have stories in my mind when I am drawing. But, I don't prefer to share this with others. Because although all those names I have given recall an ordering, I don't want to block the infinite possibilities that spectators are going to imagine.  Some says that they remember the places in the pictures from somewhere - although the the presumptions are all wrong. I like this to be the general feeling.

Some of the works you have exhibited in BAUART take place in Manzara Art Gallery now. What kind of an effect -do you think- does this different exhibiting style have on your works?

My works look like they are paintings done on canvas in Mazara Art Gallery. Although this cause them to look out of concept, this is the general problem of all my paintings. I think the paintings should form their own concepts according to the place, where they are exhibited. I am experienced in using the space since I have prepared many exhibitions before in Manzara Gallery Lounge.  I also think that my drawings are harmonious with the plain and ready architecture of the venue - my drawings being with thick frame make them unite with the architecture.

Your drawings are providing a background for the spectators and include them both with the colours and its dimensions.

Yes; especially when it is stood at a proper distance, the spectator looks like a part of painting. The colours I use do also have the features supporting this. I want to show not only architecture, but a state and all the pieces of that state by giving the same importance to all. I have done one of my paintings inspired by one protest scene I have witnessed when I was walking on the road and naturally people were there. There are people existing in almost all my paintings. When you are living in Istanbul, you realise that people are everywhere; it is almost impossible to find an empty space.

How long have you been working and living in Istanbul?

I came to Istanbul after my graduation from Düsseldorf Art Academy in 2007. While I was continuing my art works, I have prepared many exhibitions together with Christina Kramer. Then we met with Manzara Perspectives and there I participated in the preparations of numerous exhibitions. Also, I have been one of the three members of an artist initiative called Nüans since my graduation. We are all graduates of Düsseldorf Art Academy. I have been attending group exhibitions both in Germany and here in Nüans together with other artists since my graduation in 2007.

How did Istanbul effected your perspective and practice in art?

I was very curious about the art environment and artists in Turkey, when I was living in Istanbul. I love art here being narrative and political.  I think it is a more courageous language that is remaining closer to life. I believe art and life should be together in contemporary art.

The exhibition in Manzara Art Gallery ends on 5th January. What are your plans for later?

We are having a film screening in Berlin after the end of exhibition in January that we made together with Nüans.  The book accompanying the films was published by Revolver and it is going to be showed in showroom. The book maybe also be accompanied with off-stage drawings of the film.  I am also working on a project with Veronika Helvacıoğlu. We are planning to exhibit the carpets, which we weave with safety belts.