Rüzgâr Buşki’s works tackle body and identity as social constructs, self as a futuristic landscape and human condition as a subject of deconstruction. Their assemblages of self-community-society alter the routines of everyday with irony and humor and hold possibilities for a sudden change in the unknown. Proposing affective maps of queer belongings and kinship by focusing on certain experiences in which the duality of individual and collective dissolves. Fear or happiness, celebration or mourning, longing, desire, resistance, or solidarity become the themes of their works for delivering survival strategies to alter given human conditions as well as to shed light on communities that are flourished out of the normative order. They use several printing techniques including lithography and woodcut and work in diverse mediums such as photography, video, and film. In their body of work, the chosen technique is the main source of action to determine or explore further the theme. Sometimes a lithograph print reveals their coded/made-up language for making love with a lover (lover bird; 2018) By bearing the words of a gay flirt on its surface, the stone as a property of human civilisation eludes its material and historical meanings. Some other times the artist carves an image, a self-portrait into the surface of a block of wood where fear becomes the theme, and the woodcut technique itself reveals the tension in-between. Or the film work #resistayol starting with narration, with an intended aim of conveying the life journey of a trans activist from Turkey in the form of documentary. The work caught up in the reflections of the carnivalesque Gezi Uprising and turns into a turbulent audiovisual journey reflecting hope through a unique moment.