I installed a total of 70 participants had contributed 300 crocheted pouches in my exhibition. Before the exhibition, as they gathered in groups or crocheted individually, they also documented themselves and sent the resulting videos and photographs to me. I compiled these images into a video and projected it on one wall of my installation space. On the same wall, I listed the names of all 70 contributors.

I also added a sound element to the video: recordings of participants speaking in Turkish about femicide. Thus, the installation can reach people not only visually but aurally, adding a sensorial dimension and more profound effect. I felt it important for the installation to serve not only as a visual memorial to murdered women but also stand metaphorically for the voice of all women, deceased and living. The fact that these conversations were true stories made them more effective, both for me and for the audience. I chose to include the stories in Turkish, because I believe that every translation creates an emotional loss.

Even though not all the participants have directly witnessed femicides, every one of these women who has been crocheting pouches has stories to tell about what being a woman in Turkey has meant for them. In the interviews, I posed questions having to do with what they thought and felt while crocheting, why they wanted to participate in this project, what they thought and felt after they contributed to the project, and how their own and others’ awareness of femicide has changed while taking part in the project.