Naz Paşalı Visual artist

Naz Paşalı

Collage & mixed media Rome / Istanbul

Biography Rome / Istanbul

Biography

Visual Artist · Feminist · Founder of Mulière Art Collective

Naz Paşalı is a feminist visual artist working between Rome and Istanbul. With a background in cinema, her practice moves between collage, mixed media, and visual storytelling, exploring the female body, identity, and the tension between being seen and simply being.

Through fragmented figures, displaced body parts, and reconstructed imagery, she questions how women are represented, perceived, and defined by the external gaze. Her work transforms familiar images into unsettling compositions, where the body becomes a space of contradiction, resistance, and reinvention.

Beyond her individual artistic practice, Paşalı is the founder of Mulière Art Collective, an initiative dedicated to creating space for women artists and their voices.

Works / Archive

Works

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Artist statement

How much of ourselves can exist before the world tells us who we are?

My work begins with this question.

I see the objectification of the female body as a form of alienation.

A woman is taught to encounter her own body from the outside, through the eyes, desires, and expectations of others. What should be an inseparable part of her existence becomes something to observe, regulate, and possess.

I question the artificial separation between the body and the mind, consciousness, and soul. When a woman’s body is treated as an object detached from her inner life, she is denied the possibility of existing as a whole.

Before she can become a person on her own terms, a persona is already constructed for her.

For me, this is where violence begins: not only in the physical act, but in the denial of subjecthood.

In being seen without being recognized. In having a body while being denied the freedom to fully inhabit it.

Through collage and mixed media, I fragment and reconstruct the female body to expose this rupture. Displaced limbs, disconnected faces, and impossible anatomies become expressions of a body made unfamiliar to itself.

Yet reconstruction also holds the possibility of resistance.

By rearranging what has been separated, I question who has the power to define a woman’s image, identity, and existence.

My work is an attempt to reclaim the possibility of being a subject before becoming someone else’s image.