What remains from woman
This textile book is not meant to be read. It is meant to be traversed.
Composed of textile accessories that once belonged to the artist’s grandmother—including a table decoration used at her wedding—this work transforms a domestic object into a critical archive. What once welcomed guests now becomes material for inquiry. What once served as decoration becomes a vessel of memory.
The book opens from left to right. A simple gesture, yet one charged with cultural orientation. Reading becomes an imposed act: a way of moving through the female body according to a predetermined logic. Each double page presents an injunction—Virgin?, Permanent birth control, Show money, Maternal instinct, Right to speak—or not?, Right to show age, Joy. These fragments do not tell a story; they map the construction of femininity.
The word virgin appears not as a sign of purity, but as an assignment. The female body is anticipated, framed, and defined before it can exist as a subject. This book questions what it means to be a woman between East and West—not as a passage, but as a permanent tension. The body becomes a space of translation: of what is transmitted, what is transformed, and what resists. Here, textile functions as a language without syntax. It does not describe. It retains.
Size of the textile book : 40 x40x8cm
Spaces of Minotaure
Spaces of Minotaure is a contemporary art project by Khulkar Yunusova exploring language, confinement, identity and symbolic transformation through the figure of the Minotaur and the French letter H.
Developed during the pandemic, the project reinterprets the Minotaur not as a mythological monster, but as a metaphorical body trapped inside systems of language, history and social structures. The work emerged from the artist’s reflection on the silent French letter H — a letter that structures words such as Homme (Man) and Honneur (Honor), while remaining itself invisible and mute.
Through drawings, artist books and visual narratives, the project transforms the letter H into a moving character navigating spaces without borders, frames or fixed identity. The Minotaur becomes a figure of transition: suspended between human and symbol, body and language, captivity and liberation.
The title Sourht derives from the intersection of Quranic vocabulary and Ottoman linguistic heritage, linking the notions of chapter, image and transmission. Through this layered structure, Spaces of Minotaure investigates how symbols travel across cultures and how identities survive through transformation.
Situated between artist book, conceptual archive and poetic manifesto, the project reflects on freedom, invisibility and the possibility of reconstructing meaning after periods of isolation and historical rupture.
The Sourht 1 contains 365 drawings, conceived as fragments of an ongoing visual migration across emotional, political and imaginary territories. The work combines mythology, typography, gesture and contemporary poetic research into a single evolving system of memory.
The Sourht 2 contains 1440 photos, the number of images that Minotaur sees each minute a day.
