A night in his studio’s garden in Dummar marked a turning point in Al-Turks career. Awakened by a little mouse, Al-Turk felt his deep loneliness. By dawn, he depicted himself as a lonely deformed flower vase and painted the mouse as a deformed animal with seven legs. Since then the little animal has been present in all his paintings and has become a trademark of Al-Turks latest works.
Though moved to still life, the sense of alienation and oppression never parted Al-Turk’s works; avoiding the traditional still life stereotype, he deforms every element in his paintings and adds a living creature to each one.
“I can’t imagine painting a still life without life in it. It’s simply too rigid and lifeless that way.”