Her drawing practice extends the bounds of paper and travels through different shapes, materials, and media. Combining elements of Islamic culture with her lived experience between east and west, she finds common ground to create her own visual culture. She implores our uncontrollable intuitions and antediluvian instincts to touch, look, take, feel, pick and smell the materials of her drawn environments made of clay, saltdough, stones, cotton and any ghost that lives in the space she operates in. In her drawings, she depicts sexual scenes of love, playful scenes of friendship and eerie scenes of mourning between different beings. It envelops ugliness, roughness and disgusting encounters between soggy and mossy bodies of nature, as much as it does intimacy and tenderness. Erdemir uses appealing narratives of serenity and comfort, but also the creepily satisfactory uncanniness we find in darkness, death and the dirt we were made of.