Zeyno, of Turkish and German descent, inhabits a constant state of transition, a condition that profoundly shapes both their lived experience and artistic practice. Navigating the paradoxes of European citizenship alongside the persistent realities of structural racism, their work channels layered transitions — cultural, political, spatial, and temporal — that converge within both embodied and material forms. This interplay reflects a postcolonial condition defined by hybridity, contested identities, and the fracturing of linear histories.

Within this shifting landscape, the figure of ‘the other’ emerges—not only as a label imposed by dominant systems but as something actively navigated and negotiated by those inhabiting in-between spaces. This complex identity becomes the central focus of Zeyno’s work, which explores the fluidity and tension inherent in living between cultures and realities.

Zeyno’s figures — ageless, genderless, and free from visible markers of ethnicity or culture — invite viewers to see themselves in them, unburdened by preconceived notions of identity. Their layered, ambiguous expressions evoke the emotional complexities of migrant experiences, shaped by internal contradictions and external realities. They are sometimes adorned with powerful magical objects, weapons, or everyday items that carry universal cultural significance. Drawing on folk traditions and mythology from the worlds that Zeyno navigates, these elements evoke themes of power, protection, and survival without fixing the figures within a single belief system or historical framework.

In some works they explore dimensionality through  paper or wood cut figures assembled into reliefs — occupying three-dimensional space while presented as two-dimensional compositions. This tension between flatness and volume embodies a physical and conceptual threshold, reinforcing the sense of in-betweenness central to the practice. The environments these figures inhabit are always non-spaces — suspended, unplaceable settings that reflect a sense of displacement and disorientation. While the visual language varies across works — from lush, ornamental floral backdrops to stark abstract fields or flat monochrome forms — the figure remains untethered, never fully grounded. In certain pieces, visual traditions such as Persian miniature painting and Western linear perspective are intentionally merged to construct hybrid pictorial spaces.  Whether ornamental, abstract, or formally hybrid, these environments consistently function as non-spaces: emotional and psychological thresholds shaped by the complexities of migration, fragmentation, and cultural in-betweenness.

Ultimately, Zeyno’s work invites quiet reflection rather than confrontation. Its deceptively pleasing visual language offers an approachable entry point, encouraging viewers to engage on their own terms. Upon closer inspection, it reveals unsettling layers that subtly disrupt assumptions about identity and the dominant culture’s perception of the “other.” Like a clean paper cut, the work’s softness belies a subtle sharpness — an unexpected sting that lingers briefly, prompting awareness. This quiet discomfort gestures toward the deeper, often painful wounds endured by those labeled “the other,” inviting reflection and vulnerability without overwhelming the viewer.