Sarıkaya states that her inquiries within her own life dynamics, from the early days of her artistic production until today, predominantly revolve around the heterosexism, homophobia, and the hypocritical gender bullying of the patriarchal society she was born into, which she observes in daily life. She indicates and references these issues in her artworks. The artist also emphasizes the dominant and active aspects through the masculine/feminine dichotomy instead of the traditional male/female binary. She visualizes concepts of power, sexuality, authority, violence, and femininity.

Zeynep Beler (she/her) is an Istanbul-based painter whose practice overlaps indispensably with photography and vernacular imagery. She is most interested in images with “no [share] value” that clutter a phone's camera roll, utilitarian or “bad” images lacking evident indexicality. In her current body of work, she seeks insight into a new kind of latent image, one that exists in the new liminal space of human experience, the role of the “user”. This new kind of latency is targeted towards suspending the ever more capricious attention of the user, inviting them into a threshold of anticipation and/or apprehension. As Beler works she stays alert to how her sensibility is being steered by algorithms, using devices in which the processes of seeing, photographing, and sharing are collapsed, and ultimately exploring ways of painting in collaboration with technology.

In Antonio Cosentino’s works, one finds a wealth of images distilled from everyday life, the depths of personal, memory, and the visual culture of the artist’s city. While the shifting character of highbrow and low-brow art was being discussed in the 90’s contemporary art milieus, Cosentino and his artist friends undertook, as it were, the archaeology of a gaze which brought subculture into question. It is from this period on that Cosentino’s painting incorporated materials from the visual culture of our geography without letting one dominate the others: panels, signboards, wrappings and ceramic tiles. The artist’s images embrace an expression that is dislocated and fragmentary, but also somehow holistic and repetitive, thereby breaking open a third window: a mnemonic space that is at once colorful and meditative…

Lacan’s words “I see only from one point, but in my existence I am looked at from all sides” are behind Irmak Dönmez’s take on how the dominated female body loses itself-being and is compelled to assume new meanings, which leads to a visual reimagining of the body with a naive eye, guided by phenomenological questions. In doing so, the artist nearly operates on the body, cutting it into pieces and studying them semantically. Her chief concerns are the values of sanctity, motherhood, enclosing, harnessing, and nurturing attributed to the female body.

In his works, Burak Ata has always been chasing the traces of his autobiographic transformations as an artist. He positions himself at a permeable point in a particularly unpretentious manner and thus records and transmits the tides of his personal and the quotidian.

Merve Morkoç (b. 1986, Turkey) who continues to work from Istanbul, Turkey graduated from Mimar Sinan Fine Arts University, Graphic Design. Having participated in various group exhibitions, the artists’ solo exhibitions consist of (2021) “Evet Canlı Hayır Değil” - UP Art Project, (2014) “2+1” - Galerist, (2011) Prone - Galerist, (2010) “Netame Hanım ve Kumpanyası” - Milk Gallery ve (2010) “1335” - The Hall.