Reyhan is one of the unique artists using her body as an ‘alive brush’ on the canvas plane. The unconventional process offers a personal alternative to the subject. Her performative art addresses the capabilities and limits of the body from a new contemporary perspective in terms of the method followed and investigations made. She searches for answers to some of her deepest questions around body-life, body-material, body-consciousness, subconscious, body-personality, body-spirit, body-place, and body-time dilemmas, through alternative experiments with contact between her subject body and surface.

The artist reveals her assimilated self with the accumulation of body memory, creation, and vital processes inherited from her sports background. This self is observed in the framework of the relationship between painting surface and performance. Here, she aims to transform dance rhythms and acrobatic movements on the horizontal plane by means of paint. The formation is the transformation of the artist's existence energy into action painting with the personal use of gestures. Her performance art is an examination in itself, and the contribution of plastic projections of spatial aesthetics of visual movements to the formal aesthetics of painting further examines the conceptual dimensions of the body that affect formation.