Doğan focuses on the paradoxical stance displayed by the eye against space and time.
Setting the viewer’s perspective as the point of departure, Doğan Doğan transfers the stratified structure encountered on every scale ranging from micro to macro to his works. He visualizes the works surrounded within a triangle of eye – space – time, besides dissatisfaction and curiosity of the eye which longs to see the further and the deeper. The chaos growing out of this dissatisfaction and curiosity brings along uncontrolled order.
In Doğan Doğan’s works, oil paint is used in an unusual technique similar to watercolor. While this attitude enables edging the layers Doğan specifically prefers to include in his works, it also makes the transparency among those layers visible. This ambivalence generally seen in the works, welcomes all the tides between micro and macro, deep and shallow, thin and thick, light and dark, black and white, small and big. Besides their chaotic structures, Doğan Doğan’s works hold some kind of controlled randomness in themselves. From this aspect, while the paintings bear traces of interactionist and expressionist attitudes, they also leave the spectator alone with a concrete body of layers in its true reality. Those layers, which might be filled with various materials over and over, deepen progressively along with the inspiration he finds in Hermann Nitsch in terms of emotions and intuitivism and in Simon Starling and Hans Hacke in terms of concept and research.