Iz Öztat performs on multiple fronts such as making, gathering, writing, translating, hosting and mediating. Although her work is dependent on the context within which it is produced, she revisits certain subjects: convergence of water and freedom, return of the suppressed past in the present, potentials of fiction in constructing historical narratives and ideological implications of display. Her process usually begins with archival research and initiated dialogues, which manifests as an animistic quest for the potential of objects and materials in conveying knowledge. Ongoing collective processes are central to Öztat's practice. She has been engaged in an untimely collaboration with Zisan (1894 - 1970) who appears to her as a historical figure, a ghost and an alter ego. She is a member of BAÇOY-KOOP (Printing, Duplication and Distribution Cooperative), a group that utilizes the mimeograph technology for collective, independent publishing.
Among her selected exhibitions; Suspended (solo), Pi Artworks Istanbul, Turkey (2019); Love Letters, Tensta Konsthall, Stockholm, Sweden (2018); Colony, Scwules Museum, Berlin, Germany (2018); Tamawuj, Sharjah Biennial 13, Sharjah, UAE (2017); Walkers, French Cultural Center, Istanbul, Turkey (2017); The World Made Anew, Pi Artworks London, UK (2017); Land without Land, Heidelberger Kunstverein, Heidelberg, Germany (2016); Responding to questions Ediyorum Preferences, Maçka Art Gallery, Istanbul, Turkey (2016); Salt Water: A Theory on Thought Forms, 14th Istanbul Biennial, Turkey (2015); ... Date Reunion, Sakıp Sabancı Museum, Istanbul, Turkey (2015); Conducted in Depth and Projected at Length, Heidelberger Kunstverein, Heidelberg, Germany (2014); Rendez-Vous 13, Institut d’Art Contemporain, Lyon, France (2013); All Together Now, Matadero Madrid, Spain (2013) and Second Exhibition, Arter, Istanbul, Turkey (2010) is located.