Ranging from drawing and video to performative and collaborative practices, Inci Eviner’s large body of work comprises multi-layered pieces that originate from drawings. Especially in her works where power and representation politics on the female body are addressed, Eviner examines how the subjectivity is formed. On the other hand, the complex relationships that the artist establishes between video technologies and traditional painting suggest a different form of perception. Drawing is central to Eviner’s works; she defines the point of departure of her practice as “expressions made through lines on paper.” She builds and constantly enriches her artistic approach, strolling through a boundless visual language ranging from art historical allegories, iconographies, illustrations, and mythologies to contemporary ideograms and pictograms. Eviner has developed a unique mode of expression regarding the different states of womanhood, gender, and the politics of identity in their collective, political, and sociocultural aspects. Investigating the historical, discursive, and unconscious processes that influence our views of identity starting in childhood, the artist defines womanhood as a field of limitless possibility that does not fit any single image or concept. Exploring the quotidian gestures, Eviner not only questions, but also challenges the modes of representation and the prohibitions that engender these representations.
