She graduated from Mimar Sinan University, Department of Ceramics, in 1992. Between 1992 and 1993, she worked on the editorial boards of Milliyet Aydın Kitaplar and the Büyük Larousse Encyclopedia. Alongside her artistic production, she worked in her own studio in graphic design and art direction from 1991 to 2007.

Her solo exhibitions include “Yok mudur Kurtaracak?” (2006) at Galeri A, Istanbul; “Göster Anlat” (2011) at Daire Sanat, Istanbul; “Ahlak ve Hukuk Mağdurları” (2011) at Brecht-Haus, Berlin; “Hiçkimsenin Suçu” (2016) at Kuad Gallery, Istanbul; and “Direnmeden Kırılmak” (2018) at Galeri Selvin, Istanbul. She has also participated in numerous group exhibitions, including “Öteki” (1996) at Antrepo I, UPSD/Istanbul; “Kişisel İzler” (2004) at Painting and Sculpture Museum/Istanbul; “Newroz” (2005) at Galeri Apel - Diyarbakır Art Center; Turkish Ceramic Art Exhibition (2007) at Tophane-i Amire/Istanbul; Je m’appelle Apel (2008) at Galeri Apel - Tobacco Warehouse/Istanbul; Amongst Neighbours (2009) in Berlin-Istanbul; Zsbazyn Art Experiment Festival (2010) in Poznan; “Orient – Oksident” (2011) at Kronenboden Gallery/Berlin; and “Dada’s 100th Year” (2015) at Kuad Gallery/Istanbul. Her works are included in private and institutional collections, and she has published writings on art and philosophy.

Working as an independent artist, Carus lives and produces her work in Istanbul. Always curious about the historical background of the contemporary, she addresses social and political issues. She investigates the causal relationships between the present and the past, both personally and collectively. By engaging with unacknowledged history, she aims to create a field of thought. Her fundamental question is: “What lies behind?”

She produces collages and sculptures using paper and porcelain. Whether abstract or figurative, she layers her materials, with each layer representing time and experiences. By using porcelain like paper and paper like porcelain, she creates illusions between the two materials. Through shifting and vibrating surfaces, she references the ambiguous side of reality, suggesting that truth is never absolute.