The Markaz Review:

By Selin Tamtekin

Since the '60s, Nevhiz has created works that range from depictions of systemic violence against Turkey’s left to intimate explorations of existential turmoil.

After Nevhiz greets me warmly at her front door, I follow her down a narrow corridor where large canvases lean against the walls. Her modest flat doubles as both a home and a studio, barely able to contain the artwork she has produced over nearly seven decades. She once had a separate studio on the same street but was forced to vacate it when the building was demolished. Since then, limited funds and reduced mobility — which she attributes to her bad knees — have kept her from renting a new space.

We enter a crowded living room. Moving slowly, the artist carefully lowers herself onto the sofa beside a cluster of remote controls. Next to them sit a few neatly folded blankets and some Tupperware containing her daily essentials, consisting of medication and other small necessities within arm’s reach. I settle into the armchair beside her and notice numerous small works on paper in a portfolio tucked between the two pieces of furniture.

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