I named myself with a self-made word "Natis," meaning "nobody," compounding a prefix from the Persian language and a pronoun of ancient Greek. The reason of this is because the art-making that I materialize manifest itself through multiple and parallel research-based practices for each of which I create, embody, instrumentalize a different artist personality. Through these alterations, I try to challenge the social understanding and role of the artist as a historical subject formation. These alternative-selves deal with various fields: Personal/communal remembering and forgetting, speculative and temporarily (non-)linear storytelling/fabulation, gender, post-colonialism, and new materialism.

I primarily discovered painting as a child in the abandoned churches of "oriental" North Cyprus, which appear distinctly apart from the "occidental" South and where has been affected by Turkish and Greek right-wing extremisms since the 1950s. Belonging to any ethnic community in Cyprus always meant having a hostile Other to build an identity. Reminded daily by post-British nationalist formations in Cyprus, it was inevitable for me to internalise the narrative of "having no birthright to those images in those sacred buildings" as a young person whose plan was to become an artist. This ambition to be an artist in me and the artistic medium I was using troubled me for a long time and still does. I believe this battle between the myths about my body, in other words being racialised, and my painting child's hands is the essence of what I am still trying to figure out today. My theoretical and artistic universe with my alter egos has built upon this core story.

For a while, I worked on different approaches to self-portraiture and I could not resist seeing the humour in my self-glorification as the nature of being an artists. After some time in Germany, I started to decode the demands around me - from the universities I studied, the art scenes I encountered, from the social world of gay sexuality - to portray and perform my oriental identity as a sexual and creative being. So, I developed my first alter-ego in the figure of Jhad, a politically incorrect oriental superhero to re-appropriate or re-claim all what I felt projected onto me. I chose to exaggerate this figuration into auto-fictionalisation. But, was this what and whom I wanted to paint? Or was it all part of greater conditioning to depict, even if humorous, the apparent suffering of (my) Othering?

As a racialised and sexualised artist, having multiple artistic personalities helps me investigate the only central riddle of my practice most fruitfully: The troubling "regulatory ideal", the Artist. Who is the artist? How is this figure come about? Was he invented, or was he there already? Who should be an artist? And how? The choice of gender is not a consequence of my mind's internalised misogyny but because of the historic / masculinist / colonial / conceptual evolution of this subject towards which I am trying to build a critical argument. His historical development began with the liberation story of human-thinking from the theological. However, his institutionalisation extended to the point that this historical figure became the embodiment of the oppression of human imagination (in relation to the imagining body) in the globalised world beyond its gender attributions.