Alright – so today we’ve got the honor of introducing you to Ulku Uzun. We think you’ll enjoy our conversation, we’ve shared it below.

Alright, Ulku thanks for taking the time to share your stories and insights with us today. What’s been the most meaningful project you’ve worked on?

This project was one we developed for the municipality in Istanbul, Turkiye. I was part of a women’s volunteer group working in Sisli, a district of Istanbul, providing education and support to children, youth, and women living below the poverty line.

The group was made up of women from various professions—lawyers, chefs, economists, journalists, and homemakers. I was the only artist in the group, so I organized the creative and artistic activities. I also run an art center for children in Istanbul, and my goal has always been to create spaces where people can come together and connect easily. Most of the time, this means setting up activity tables for children. While the kids play and engage in fun activities, the parents naturally begin to connect and socialize. These shared moments help build a strong sense of community.

After organizing several one-day events in various neighborhoods, one of our friends approached us with a more long-term idea. In a middle school located right in the city center, many children had stopped attending classes. There were around 120 children at risk of being expelled. The underlying issues were the presence of drug dealers in the area and severe economic challenges.

We were asked to participate in a three to four-week summer program designed to re-engage these kids and help them reconnect with life. I volunteered immediately, without hesitation. As always, we divided tasks: the municipality supported the food and field trip logistics, and we recruited professional volunteers from our networks.

We planned sports matches, boat tours for children who had never seen the sea, distributed food and clothing, and offered family support, summer activities, and art workshops. The goal was to foster a spirit of unity and to show families and children what we could achieve together, and that schools could be safe, supportive spaces for them.

During the first week, things were rough. There were fights, trust issues, and resistance from the kids. Many refused to participate and tried to sabotage the activities. Some volunteers left the site in tears after being insulted or mistreated. Even my most popular art activity didn’t work. It seemed like the children were only showing up for the food and then leaving.

At the end of that first week, we took a step back and reassessed. We had tried everything we knew, but it was clear we needed a new approach to earn their trust and truly engage them. Then it hit me: what if we tried graffiti and rap?

I run an art center and am a multidisciplinary artist, but I had no experience with graffiti or rap. Still, I deeply believed in the healing power of art and thought maybe I just needed to find a new artistic language—one that could reach these children, who were growing up in such harsh conditions. I was sure that creative expression could break through their hardened shells and spark even the smallest sense of hope.

I began searching for graffiti artists, but most asked for prices well beyond our budget. So I decided to learn it myself and teach it. My daughter’s art teacher happened to know graffiti techniques. Since she worked at a private school and couldn’t join the project herself, she kindly offered to teach me the basics. I started taking lessons from her right away.

At the same time, I reached out to rap musicians. I explained the project, and to my surprise and joy, everyone I contacted was eager to support us. By the following week, three different rap artists and groups had agreed to come and lead workshops.

Now we had a brand new program. That week, I walked into the classroom not as the artist they knew before, but as a graffiti instructor. Their skeptical, wounded looks shifted immediately. We started having fun. They were familiar with graffiti—they had seen it—but now someone was there to teach them how to actually do it.

Combining visuals with words, using clever and expressive language, and channeling their creativity—this opened a door. They suddenly became animated, sharing their ideas with joy and excitement. I could hardly believe it. The work they created was amazing. Their enthusiasm moved me to tears.

The project came alive.

While one group of children joined my graffiti sessions, another group chose rap. Soon, the kids were showing up to school with enthusiasm. We scheduled our workshops for the afternoons and gently encouraged them to participate in morning classes as well. Everything began to flow. Smiles appeared on children’s and parents’ faces. They wanted to talk, to learn, to ask how we could do even more together.

Day by day, the group grew stronger and more connected. When the project ended, it was hard for all of us to say goodbye.

On the final day, we held a rap competition in the school auditorium. Those once-troubled kids stood on stage and proudly performed the powerful lyrics they had written themselves.

This was the most powerful experience I’ve ever had that reaffirmed my belief in the healing and transformative power of art.

As always, we appreciate you sharing your insights and we’ve got a few more questions for you, but before we get to all of that can you take a minute to introduce yourself and give our readers some of your back background and context?

I am a film director, artist, and entrepreneur. After graduating from the Cinema-TV Department of Mimar Sinan University, I worked extensively in the film and advertising industries. In 1998, my husband Serdar and I co-founded Lokomotif Kamera in Istanbul, a company that played a pivotal role in introducing new technologies to the Turkish film and advertising sectors, providing technical infrastructure for over 100 feature films and spearheading significant industry transformations.​

Following the birth of my daughter, I shifted my focus toward art and children’s projects. For the past 15 years, I have been organizing art workshops for children and have taught cinema in schools. Currently, I continue to offer online courses in both painting and filmmaking.​ I have always believed in the healing and unifying power of art.

As a creative entrepreneur, I run Atolye Lokomotif, an art center where professional artists collaborate with children and young people. I am also working on several international film projects as a film producer.

What can society do to ensure an environment that’s helpful to artists and creatives?

Supporting creative individuals and artists is essential for both cultural richness and social progress. First and foremost, we must recognize that art and creativity are not luxuries—they are fundamental needs. In particular, the importance of art in children’s education must be emphasized. Art is our connection to the soul. It is a language—one of the most universal and profound ways to express ourselves.

Societies where art flourishes are more peaceful and harmonious, because individuals are more in tune with their inner worlds. Art grounds us, connects us, and brings us together in shared spaces. That is why we fall silent in front of a powerful work of art—it reaches out and touches something sacred within us.

Education systems should nourish creativity and integrate the arts at every stage. Access to artistic experiences should be free or easily available to all children. Independent artists need more funding, creative spaces, and opportunities to present their work. Local governments and the private sector should collaborate to create sustainable support systems.

Artists should be appreciated not only for their works but for the emotional and cultural value they bring to society. Support is not only financial—it also means visibility, space, and listening to their voices.

As Picasso famously said, “Every child is an artist. The problem is how to remain an artist once we grow up.” I truly believe every child is born an artist. The real challenge—and responsibility—is protecting and nurturing that inner artist as they grow. Artists keep a society’s imagination alive. Supporting them means supporting the very soul and future of our communities.

Looking back, are there any resources you wish you knew about earlier in your creative journey?

People who dedicate all their time to art tend to be very sensitive individuals. This is because they are open to all the energies around them, and their empathy is a vital element of their creativity. However, this same sensitivity can also be their greatest weakness. I believe that everyone is born with the potential to be an artist, but over time, life hardens us. The artist is the one who works to protect the inner child within, despite everything. Unfortunately, everyone around them, including close friends and acquaintances, may try to crush this fragile nature. This can lead to a vicious cycle of self-doubt, one that the person sometimes cannot escape.

I reached this clarity in my 40s. Still, there are moments when I forget and fall into oblivion. Despite the destructive energies around us, it is crucial to protect the inner child and try to hear its faint voice. We must constantly remind ourselves that the negative voices, judgments, and condescending perspectives of those around us are actually their own reality, and we must stand firm and protect our art.

Contact Info:

• Website: https://www.atolyelokomotif.online/ and https://www.lokomotif.com/
• Instagram: https://www.instagram.com/atolyelokomotif
• Linkedin: https://www.linkedin.com/in/ulku-pehlivanoglu-6b9ba320/
• Other: https://www.imdb.com/user/ur28562722/?ref_=nv_usr_prof_2