In this research, the adventure of using traditional embroidery techniques on alternative surfaces to fabric to achieve a place in artistic media is conveyed. Five major artists, who use their own bodies and readymades' surfaces, and who technically gravitate towards traditional embroidery techniques, establish the main framework of this research. While the use of readymade in art first appeared at the beginning of the 20th century as collage and assemblage, it is possible to say that their foundations were based on Duchamp's readymade in the 1920s. Especially since the 1960s, it has been observed that these objects have been handled conceptually by artists. Also, the 60's was a period in which the body and everything related to it captured closer attention in art. The body has been used as a direct and real field, especially in performance art. Contemporary forms of practice in art are discovering new concepts and building a bridge between traditional and present. It is seen that the studied artists drew a fine line between art and craft by using the basic techniques of traditional embroidery and nontraditional readymades and bodies. When the artists who carry the traditional embroidery technique on readymade and in their bodies to modern art are examined, it is seen that they deal with concepts and approach such as feminism, kitsch, sustainability, body art and performance art in their production processes. For this purpose, by researching the techniques, methods and approaches of the artists, and by referring to the art practices and traditional production techniques, which inspired these artists, on alternative surfaces, the conceptual messages of artistic outputs, each of which transformed into a new living space, will be interpreted. This article provides an example of how the limited dialogue between art and craft has been overcome by artists, and the use of materials and techniques on alternative surfaces.

Keywords: Traditional Embroidery, Contemporary Art, Feminism, Body Art, Sustainability, Kitsch