Güneş Terkol challenges imaginaries related to the feminine based on personal or collective histories shared by women at workshops organized as part of her research and work process. Embroidering, a practice culturally attributed to the domestic setting and the labor of women, takes on public and political layers in her production. At the 32nd Bienal, she presents the series Couldn’t Believe What She Heard (2015) and The Girl Was Not There (2016). In the former, Terkol creates images in which elements related to the stereotype of the ‘feminine world’ – polished fingernails, hair, shoes – are contrasted with fragments of bodies whose gender is undefined, in an open montage, while in the latter series she reclaims the mystical and idyllic character of nature. The coloring comes from organic materials such as onions, tobacco leaves, avocados and beetroots, composing landscapes or scenes that blend ornamental elements, empty frames and invented figures. The fabric used by Terkol subverts the apparent fragility of the works and their transparency allows us to glimpse the compositions, multiplying and deconstructing the imaginaries of the feminine and nature.