Artist Statement
My practices emerges from a growing desire to highlight the raw, often overlooked materials and objects embedded in our everyday lives. I work with reality as it is—revealing structures that usually remain hidden, unnoticed or discarded. I am drawn to functional and perceptual tensions and to aesthetics that emerge not from ornament but from presence, process and structure.
Rather than using technology only as a tool, I treat it as a subject in itself—something to be listened to, observed and questioned. What happens when we strip technology of its sleek interfaces and allow its inner workings to become visible, audible and performative? This approach leads me to engage with found or industrial materials, electronic circuitry, non-aesthetic objects and systems that exist outside conventional artistic framing.
When we remove objects from their functional use, we create space to observe them from different perspectives. This observation reveals hidden details we might have previously ignored. By taking these elements out of their original context and placing them into new ones, their functionality becomes blurred—allowing their sonic and visual qualities to stand out.
In Sonic Artefacts, I treat visual and sonic components as fully connected—what you see is what you hear. There is no hidden mechanism. The relays, their clicking and their illumination are the piece. I’m interested in how something so simple can become expressive when isolated, repeated, and placed in a transparent frame. Through this, I aim to draw attention to the kinds of elements we usually overlook or take for granted.
My work focuses on experiences that are not about narrative or metaphor but about observation—about seeing and hearing the mechanics of a system in motion. I aim to invite people to slow down and notice the patterns and moments that are always there, just outside of our usual focus.
My practices emerges from a growing desire to highlight the raw, often overlooked materials and objects embedded in our everyday lives. I work with reality as it is—revealing structures that usually remain hidden, unnoticed or discarded. I am drawn to functional and perceptual tensions and to aesthetics that emerge not from ornament but from presence, process and structure.
Rather than using technology only as a tool, I treat it as a subject in itself—something to be listened to, observed and questioned. What happens when we strip technology of its sleek interfaces and allow its inner workings to become visible, audible and performative? This approach leads me to engage with found or industrial materials, electronic circuitry, non-aesthetic objects and systems that exist outside conventional artistic framing.
When we remove objects from their functional use, we create space to observe them from different perspectives. This observation reveals hidden details we might have previously ignored. By taking these elements out of their original context and placing them into new ones, their functionality becomes blurred—allowing their sonic and visual qualities to stand out.
In Sonic Artefacts, I treat visual and sonic components as fully connected—what you see is what you hear. There is no hidden mechanism. The relays, their clicking and their illumination are the piece. I’m interested in how something so simple can become expressive when isolated, repeated, and placed in a transparent frame. Through this, I aim to draw attention to the kinds of elements we usually overlook or take for granted.
My work focuses on experiences that are not about narrative or metaphor but about observation—about seeing and hearing the mechanics of a system in motion. I aim to invite people to slow down and notice the patterns and moments that are always there, just outside of our usual focus.
Bio
By focusing on perception, materiality, and functional aesthetics, her practice spans multiple media to reveal the often overlooked. Through various mediums—programming, audiovisual composition, light, interactivity, and video mapping—she constructs systems that reveal overlooked patterns and subtle material behaviors. Working with everyday found objects and generative processes, she integrates technology as both medium and subject, offering critical reflections on how digital systems shape our experience of the everyday.
linktr.ee/rant.links
Selected exhibitions
2025, MICME Interactive Art Festival, Valencia, Spain
2023, MINERAL, Galerie Data, Paris, France
2023, The Generative Art Corner, Vertical CyrptoArt, Rome, Italy
2023, Proof of People x Refraction, Vertical CyrptoArt, New York, United States
2023, Companions of Code, Vertical CyrptoArt x The NFT Gallery, London, United Kingdom
2023, Seçici İletken, Contemporary Istanbul Foundation, Istanbul, Turkey
2022, Art Basel Miami Beach, Art Basel & Tezos Foundation & fx(hash), Miami, United States
2022, NFT Show Europe, NFT Show Europe,Valencia, Spain
2022, Now in digital Art and Alternate Realities + NFT, Akbank Sanat, Istanbul, Turkey
2021, Contemporary Istanbul, De Artium, Istanbul Turkey
Residencies
2023, Vertical Crypto Art Residency, Vertical Crypto Art, Online
Selected Media & Press
2024, 30 October, Ana Maria Caballero, “Web3 Travel Guides: The Parisian Crypto Art Scene” in Online resource
2023, 9 January, Artdog Istanbul, ““Seçici İletken” Fişekhane’de” in Online resource
2023, 15 July, Conference, “Synergies: Expanding artistic frontiers ”
2022, 6 December, Interview, “Inside the Algorithm: Meet the Artists – Tezos x Art Basel Miami Beach 2022” in Online resource
2022, 18 December, Pixel.Bulten, “Piksel.Bulten#9” in Online resource
2022, 22 November, Abdelaziz Fathi, “Tezos Presents Interactive NFT Exhibition at Art Basel Miami Beach” in Online resource
2022, 7 April, Interview, “Jeneratif Sanat ve Yeni Bir Alan Olarak NFT” in Online resource
2022, 13 April, Interview, “NFT’yi Sanatçılara Sorduk” in Online resource
2022, 1 March, Akbank Sanat, “Now in Digital Art: Alternate Realities + NFT” in Online resource
linktr.ee/rant.links
Selected exhibitions
2025, MICME Interactive Art Festival, Valencia, Spain
2023, MINERAL, Galerie Data, Paris, France
2023, The Generative Art Corner, Vertical CyrptoArt, Rome, Italy
2023, Proof of People x Refraction, Vertical CyrptoArt, New York, United States
2023, Companions of Code, Vertical CyrptoArt x The NFT Gallery, London, United Kingdom
2023, Seçici İletken, Contemporary Istanbul Foundation, Istanbul, Turkey
2022, Art Basel Miami Beach, Art Basel & Tezos Foundation & fx(hash), Miami, United States
2022, NFT Show Europe, NFT Show Europe,Valencia, Spain
2022, Now in digital Art and Alternate Realities + NFT, Akbank Sanat, Istanbul, Turkey
2021, Contemporary Istanbul, De Artium, Istanbul Turkey
Residencies
2023, Vertical Crypto Art Residency, Vertical Crypto Art, Online
Selected Media & Press
2024, 30 October, Ana Maria Caballero, “Web3 Travel Guides: The Parisian Crypto Art Scene” in Online resource
2023, 9 January, Artdog Istanbul, ““Seçici İletken” Fişekhane’de” in Online resource
2023, 15 July, Conference, “Synergies: Expanding artistic frontiers ”
2022, 6 December, Interview, “Inside the Algorithm: Meet the Artists – Tezos x Art Basel Miami Beach 2022” in Online resource
2022, 18 December, Pixel.Bulten, “Piksel.Bulten#9” in Online resource
2022, 22 November, Abdelaziz Fathi, “Tezos Presents Interactive NFT Exhibition at Art Basel Miami Beach” in Online resource
2022, 7 April, Interview, “Jeneratif Sanat ve Yeni Bir Alan Olarak NFT” in Online resource
2022, 13 April, Interview, “NFT’yi Sanatçılara Sorduk” in Online resource
2022, 1 March, Akbank Sanat, “Now in Digital Art: Alternate Realities + NFT” in Online resource