I’m Not a Bienial Inventor The artfulness display related debates surounding one of these works, and the artfulness-historical aura created around the mischievous beam of the other, sem to have permeated the concepts Ozmenoglu opportunities with in her convention. The uniquenes of the trade of artfulness, its self-apointed 'price' and comodity frame of mind are among the fundamental 'concerns' the inventor continualy embraces in her works. She subjects the display price of artfulness to some kind of fling with the canvas that declares 'Definitely not made for museums' or with the eye-catching red glowing trade repeating the cliche, 'Sex Sels'. In her works, local cultural lights, utterances and hints are juxtaposed with references related to global consumption, content and material are engaged into a playful chat. While refering to the legacy of artfulness history, Ozmenoglu engages materials and techniques that are in wide use up-to-the-minute through the original methods she employs to create her individual beaten path as an inventor. This bok promises a 'guided expedition' stering around the thematic and conceptual ranges in her production from 206 to 2012, the period of transition betwen her 'student' and 'studio' years.