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Ece Batur

@ebtrrr

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Royal College of Art MRes 26
Royal College of Art CAP 25
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Ece’s work at ‘Kaalchakra’ by OSA Studio @the.osa.studio, presented at the London Design Festival 2025 @l_d_f_official Curators: Daksh Goel @onscreenart, Oishi Roy Dutta @oishimars Exhibition Design: OSA Studio Sound Design: Ma Pak Yin (Momo) @momomapy Photography: Manisha Puri @manisha_puri07 , Neelanchal @neelanchalhere Volunteers: Diksha @diksha_vr , Siuli @siulistudio , Shruti @malshete_.shruti #Kaalchakra #OSAstudio #LondonDesignFestival #ExhibitionDesign #SouthAsianDesign by @ebtrrr
From last night’s preview 🖤 My work Against Myself, Repeatedly is showing as part of ArtEvol 2026: A View from Everywhere at Saatchi Gallery. You can visit the exhibition until 11 October! #ArtEvol2026 #SaatchiGallery #LondonArtCollective by @ebtrrr
Really happy to share that my work Against Myself, Repeatedly will be shown at Saatchi Gallery as part of ArtEvol 2026: A View from Everywhere, presented by London Art Collective. The work begins with rubbing olive oil soap into my skin. What starts as a gesture of care slowly becomes harsher through repetition. Very happy to be showing this piece in London. 3 October – 11 October 2026 @londonartcollective_offical by @ebtrrr
To Keep, 2026 Live performance Beneath the Rift, London Brush. Sweep. Brush. I keep thinking about the space between the first brushing and the last one. They look the same from the outside. Same hand, same hair, same floor. But the last brushing cannot return to the first. Something has happened in between. Something has stuck to it. I came back to Sara Ahmed’s The Cultural Politics of Emotion after the performance and found myself caught on a passage about how associations “stick” through repetition. How words, feelings and objects gather histories, becoming so familiar that we stop noticing what brought them together in the first place. Saçımı süpürge ettim. Hair. Broom. Body. Tool. I knew what the phrase meant before I made this work. What I hadn't noticed was how well I'd stopped seeing it. How many times can you hear an expression before the image inside it goes quiet. Maybe words behave this way too, the ones we use for what we feel. I've been thinking about this separately, about how strange it is to notice yourself having a feeling while you're having it. Not just feeling something but watching the feeling happen, almost from a small distance, like it belongs to you and also doesn't. I don't have a proper word for this yet. Sometimes I think the watching becomes its own habit, its own automatic thing, until you can't tell where the feeling ends and the observing of it begins. I wonder if something like that happened with the hair. It started as mine, as care, as an ordinary gesture. Somewhere in the sweeping it turned into an instrument. A thing doing labour. I was inside it and slightly outside it at the same time. I don't have an ending for this thought. I'm still inside it too. What happens when a figure of speech is returned to the body? Performance documentation by @divyamraghunath_ by @ebtrrr
To Keep, 2026 Live performance Beneath the Rift, London To Keep began with the Turkish expression “saçımı süpürge ettim”, literally, “I made a broom of my hair.” An expression used to describe exhausting oneself in the care and service of others. The work is rooted in the memory of my late grandmother and two objects of hers that I have kept since childhood: her silver mirror and hairbrush. I remember playing with them as a child, and later learning that she had once wanted to become an artist herself. The circumstances of her life, marriage, and the expectations placed upon women meant that this was a life she was never able to pursue. She would tell me that, in some way, she was living that dream through me. There is a bittersweet weight in carrying that with me. The performance begins with a quiet act of self-care: sitting before her mirror and brushing my hair with her brush. From there, the Turkish expression becomes literal. My hair moves from something cared for into an instrument of labour; my body lowers to the floor, and the hair becomes a broom. I then return to where I began and brush my hair once again. I kept thinking about the repetition contained within a life: waking, preparing the body, caring, cleaning, working, sleeping, and beginning again. About the repetitive acts of care and labour we carry through life, and how their weight slowly accumulates on the body. The final brushing looks like the first, but it can no longer be quite the same. For me, To Keep sits within that cycle between self-care and labour, affection and exhaustion, what we inherit and what we continue to carry. Thank you so much to @divyamraghunath_ for inviting me to be part of Beneath the Rift, for your care and support throughout the exhibition, and for creating the space for this work to be performed. Thank you to @hyphastudios, and to everyone who came, watched, and shared the closing evening with us. 🤍 Beneath the Rift 17 July–23 August 2026 Curated by @divyamraghunath_ #ToKeep #BeneathTheRift #PerformanceArt #ContemporaryArt #FeministArt #DomesticLabour #EmbodiedMemory #HyphaStudios by @ebtrrr
And that’s a wrap on Beneath the Rift ✨ Thank you to everyone who joined us for our closing event and final public programme, featuring @ebtrrr and @christabelpng . Ece’s To Keep and Christabel’s Reverberation of a Note brought the exhibition to a beautiful close, with both performances receiving such lovely responses from the audience. A huge thank you to Ece and Christabel, to all the artists who made Beneath the Rift what it was, and to everyone who visited, joined the public programmes, and supported the exhibition over these five weeks. And of course, thank you to @hyphastudios for the space and support throughout. Five weeks, so many conversations, and a lot of memories. 🤍 Beneath the Rift — 17 July–23 August 2026 Curated by @divyamraghunath_ #BeneathTheRift #HyphaStudios #ClosingEvent #PerformanceArt #ContemporaryArt LondonArt by @ebtrrr
A Quilt to Return To (2026) Durational performance and textile installation. A Quilt to Return To emerged through conversations with a traditional quilt maker in Turkey and from memories of the domestic spaces I grew up in. For years, I watched women work with their hands. Not through instruction, but through repetition. Folding, stitching, pressing, mending. Gestures repeated so often that they appeared ordinary, becoming part of everyday life and therefore easy to overlook. Bringing together live quilt-making and handmade quilts, this work follows those inherited movements. It reflects on forms of knowledge that are transmitted through observation rather than language, and on the domestic labour that sustains daily life while often remaining unseen. Through duration and repetition, the performance attends to gestures historically assigned to women, asking what they carry, what they conceal, and what remains within the body after they are performed. Photography by @akinsanjayan by @ebtrrr
‘Self Demolishes, Yet I Am Still Awake’ embodies cycles of collapse and renewal, tracing the fragile threshold where endurance confronts dissolution. Through gestures of stillness, the work unfolds as a meditation on disappearance, survival, and the quiet persistence of rebirth. Ece Batur is a London-based artist whose practice unfolds through performance. Drawing from her Turkish cultural background, she examines the intersections of femininity, censorship, and embodied memory. Discover her feature in E-ZINE 01 on our website (link in bio). by @ebtrrr
Against Myself, Repeatedly Video performance, 30 minutes Soft Punishment unfolds where gestures of cleaning return, again and again, to the body, not to restore, but to insist. Soap, touch, rubbing, impact; each repetition slipping between care and harm, until maintenance begins to resemble something else, something harder to name, a shift toward discipline, toward control. The body does not resist, not exactly; it receives, carries, absorbs. Over time, it becomes a surface where tension settles, where endurance lingers, where vulnerability is not exposed all at once, but gathers slowly, almost quietly, through repetition. by @ebtrrr
I’m delighted to share my feature in Re:Art Issue 03. The contribution reflects on memory, care, and intergenerational gesture through performance, considering how embodied knowledge is carried through touch, repetition, and domestic action. It engages with what the body remembers beyond language and documentation. Thank you to @spira9art and the Re:Art team for the space and care in bringing this issue together. by @ebtrrr
It started with the smallest gestures, the quiet things a body does without assuming. Cleaning, wiping, lifting, folding; motions that settle into the muscles long before we comprehend them. Kept noticing how these motions hold both tenderness and discipline, how they shape us in ways we never chose. Objects became companions in this noticing... smooth, stiff, clean, aged, and new each one holding the weight of a narrative older than mine. Some belonged to my mother, some to my grandmother, Some found me, like distant echoes returning They carry remembrances the way skin does: Through touch, through repetition, through the things we never say, or couldn’t. In working with them, something shifted in me. The motions became erratic sometimes quiet, sometimes resistant, sometimes like a devotion, sometimes like a refusal. There were moments of holding on , and moments of letting go. Movements that felt like inheritance, and movements that felt like breaking it! What formed was not a record, but a pulse a rhythm of women who endure, adapt, and begin again. A reminder that the smallest acts can become a kind of language, a quiet resistance, a way of remembering ourselves. Soft Occupations, 2025 Performance stills, 55 min by @ebtrrr
Repeat what is repeated.
Let the habitual mark the body.
Understand that these gestures,
the minor, the mundane, the unnecessary,
are the true archives of living. Within them: 
the covert knowledge, 
the quiet suffering, 
the necessity disguised as excess. Let the secrets settle. 
Let them lie. 
Continue moving
until movement is no longer possible. Observe how life unfolds
between softness and cruelty,
never fully held 
by any single body. Soft Occupations Video Performance, 55 min, 2025 Coming soon. by @ebtrrr

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