when the design finds a home on human skin.

Of all the ways Ebru can move through the world, this is the most sacred

Traditionally, Ebru designs are transferred onto paper by laying a sheet onto the surface of the marbling water.

The image is captured in a single moment and preserved on the page.

In my practice, curiosity led me to experiment with transferring these patterns onto other surfaces and materials: plastic, glass, rock, wood, clay, ceramics—and eventually the human body.

Working with the body introduced an entirely different relationship with the medium. Skin moves, breathes, and responds to temperature and touch. The marbling patterns no longer exist as static images but become temporary, living compositions.

Submerging my own body into the marbling bath and watching the patterns form across skin became a turning point in my practice. In that moment, the boundaries between artist, material, and canvas dissolved.

Through these experiments, Ebru transformed from a printed image into a performative act—where the human body becomes part of the marbling process itself.