Feridun Özgören works in the medium of ebrû, a technique developed in the urban cultural centers of Muslim India, Iran, and Turkey by the 15th century. He practices as a contemporary artist whose work has aesthetic, conceptual, historical and ideological aspects strongly grounded in classical Islamic art traditions. An art process between painting and mono printing, ebrû is the technique called "paper marbling" when it was eventually taken to Europe.

When Özgören began his practice in the 1980s, ebrû had gone out of use in his native Turkey, except among a very few practitioners. Since that time, Özgören has contributed an impressive body of work to the medium, artwork combining the rich patterns of ebrû with the rigor and elegance of classical Turkish calligraphy. He has also mastered and incorporated a second nearly-lost technique, kat'y, or precise paper cutting. Used by Ottoman artists as a collage method, kat'y has been expanded by Özgören and used in complex ebrû painting procedures. In redeveloping the neglected techniques of these arts, he has drawn inspiration from exquisite, Mughal works of the 17th century.

Both aesthetically and technically, Özgören seeks to respect the deep traditions of his art in order to make authentically new, vigorous works in their spirit. He has carried out important research in old methods and forms, and has used this knowledge as a basis for his innovations. Özgören's work in ebrû has been shown in major solo exhibitions in museums in the USA, Turkey, and Bahrain and has been acquired by many public and private collections internationally.
In 1987, Dr. Esin Atýl (Curator of Near Eastern Art at the Arthur M. Sackler Gallery of the Smithsonian Institution in Washington D.C. and author of The Age of Sultan Suleyman the Magnificent and editor of Islamic Art and Patronage, The al-Sabah Collection, Kuwait) wrote:

"I have followed Mr. Özgören's development in the art of ebrû... He is indeed a master and not only utilizes traditional techniques, but creates his own. He has perfected a remarkable technique of making extremely large examples, which have never been attempted before. He also combines a variety of techniques, using stencil and resist methods, and enhancing his work with calligraphy. He now has a series of panels with drawings of naturalistic flowers framed by several types of ebrû... I found them outstanding."

Dr. Walter Denny (Professor of Islamic Art History at the University of Massachusetts and Honorary Curator of Textiles and Carpets at the Harvard University Art museums) wrote in his 1994 catalog essay on Özgören's work for the Jordan National Gallery of Art:

"The rapid advance of Özgören's work in ebrû resulted from his intense concentration on aesthetic and technical issues, coupled with an extremely focused and unusually energetic artistic process. Out of his wide-ranging critique of society and its values sprang his enthusiasm for those enduring elements in Ottoman culture still linked by living practice to the contemporary world. His awareness of his membership within the heritage of practitioners of the past generated both his respectful, wide-ranging assimilation of their work and his aspiration to serve them best by surpassing them."

Beyond the contribution of their appeal as art, Özgören's ebrû works are a statement of cultural identity. Özgören's art argues not only for its innate aesthetic beauty, but also for a contemporary art practice that does not alienate, but rather draws power from the deep, Islamic cultural heritage.