In his works, Burak Ata has always been chasing the traces of his autobiographic transformations as an artist. He positions himself at a permeable point in a particularly unpretentious manner and thus records and transmits the tides of his personal and the quotidian. Burak Ata questions how both intuitive knowledge and learned one affect our perception in different ways. Thanks to his kind treatment of Early Renaissance painting he carries eclectic humour and a subtle criticism that would not be revealed in any other way than the implementation of the Early Renaissance style that was developed before and outside of the ‘academic’ and ‘monotonous’ understanding of modern/linear perspective.
The grammar of his paintings is abstract but the way he interprets subjects contains figurative elements. We usually see figures that melt into a spatial network, that are crushed by or pushed to the background by the heaviness of the space. This figure has an implication for auto-portraiture, yet it also points to the idea of an artist in general. Architectural components or any element that serves to the feeling of the space represent the structural, the informational and the cultural. The representation of the structural elements also brought him where Burak Ata depicts his world with objects, installations and games.