Gürseler’s paintings are dominated by lines, the entire work is adorned with lines. In Gürseler’s universe, a line is in its simplest form, considering it’s the idea that is privileged and not the material. This is also an aesthetic preference that will suit Gürseler’s main theme: the id. Whatever is artificial – covering the essence – is excluded from Gürseler’s drawing. Each figure, building, animal, or mythological creature is completed in the most common representation by which one can understand what they are. The painting’s details are not created by the details in the figures, but in the complex relationships between these figures.

Although Gürseler does not use more than three colors per painting, his work looks extremely colorful. The reason is the way he enriches the colors he uses – albeit limited – with their own intermediate tones. Gürseler’s painting, rich in terms of formal figures, refers not to the particularity of the individual, but to the collective unconscious of humanity, and since he thinks that contrary to all subjective human qualities, the collective unconscious is the same in all human beings, he paints all figures with the same color. The body structures of all of these figures also look identical and almost all of them are completely naked. Although there is room for sexuality from time to time in this nudity, no hidden eroticism exists. The reason why all of the figures are represented with very simple drawings and paintings, and why they look identical, both naked and physically, is because Gürseler wants to make visible, the essence that is the same in all human beings. In his drawings, Gürseler withdraws one by one all different eye colors, body types, clothes and jewelry that differentiate people. What is symbolized here is that individuals are stripped of their particular characteristics until they cease to be an individual, and this process continues until all humans reach an essence where everyone looks the same. When all features differentiating a human from others are removed, the remaining substance is an identical essence with that of all other people in Gürseler’s universe. This gem is the collective unconscious for Gürseler. A person’s entire operating system, algorithms, life- comprehension strategies, perception and sense networks, and intuitions are the embodiment of this collective unconscious. Gürseler wants to paint not the individuals, but their common essence, an invisible piece of equipment. The method Gürseler has come up with to depict this invisible essence is to strip people’s own selves until they reach a collective self, making them all identical.