"Natis," means "nobody," compounding a prefix from the Persian language and a pronoun of ancient Greek. The reason I have chosen this name lies in my practice which manifests itself through multiple and parallel research-based practices. For each of these methods, I embody and instrumentalise a different artist personality: Hasan Aksaygın (also my Lgl. Name), Hank Yan Agassi, and Hasso Weiss Ehrentwert. Through these alterations, I aim to challenge the social understanding and the role of the "Artist": Who is he? How does this figure come about? Was he discovered or invented? The choice of gender is not a consequence of my internalised misogyny but the historic and masculinist evolution of this subject towards which I build a critical argument.

With Hasan, I explore (post-)memory through the queer-feminist/postcolonial perspectives, and examine the Cyprus dispute and the myths around homosexual "oriental" bodies in different contexts. A post-human mutation of myself, Hank (pronoun: it, its) occasionally visits our time on Earth, as it is coming from a space-time uncertainty. With its shapeshifting physique, Hank's practice is about earthly materialities with a perspective that perceives (non-)human in a Postordial Soup (as the antonym of "primordial") of planetary existence. And Hasso is a British-German abstract expressionist. In their totality, they activate for me a productive tension between collective and personal; past, present, future; remembering and forgetting through visual and textual speculations.

I primarily discovered painting tradition in the abandoned churches of "oriental" North Cyprus, where appears distinctly apart from the "occidental" Southern Cypurs and has been affected by Turkish and Greek right-wing extremisms. Belonging to any ethnic community in Cyprus always meant having a hostile Other to build an identity. Reminded daily by these extreme post-British nationalist formations, it was inevitable to internalise the narrative of "having no birthright to those images in those sacred buildings" as a youngster whose plan was to become an image-maker. The battle between the myths about my body and my painting hands is the essence of what I am still trying to figure out today. My theoretical and artistic universe has built upon this core story.