‘Damla Ozdemir’s oeuvre was characterized by two elements: Formally, the pieces are mostly collages of images printed on paper, where human figures, mostly woman, are depicted. For the last years, some parts stick out of the surface, become three-dimensional and give the whole work a relief-like character.
Her work is a great example of a contemporary artist who manages to balance form and content in order to create beautiful and intellectually sophisticated pieces, in which she successfully merges personal stories with socio-political issues. Although she does not consider herself a feminist, the oeuvre shows parallels to feminist criticism in her review of the status quo of women in male-dominated societies. While doing so, she never slips into a dry political conceptualism or didactic narratives but finds appealing artistic forms, where irony and beauty cause an attractive aesthetic. This is one of the biggest strengths of Ozdemir’s work. Besides this, the power of her work is also based on her masterly use of the art of collage as proper artistic method for reacting to today’s complexity. She knows very well how to use its pluralistic and eclectic character for reacting to our fragmental and process oriented world.’ (Marcus Graf)