The formative teenager years of Erinç Seymen coincided with drastic shifts that re-shaped the Turkish society: the dispersal of isolationist politics of nationalism and Cold War; fierce challenges to the longly guarded taboos of the Republic; rapid economic growth; and last but not least, the transformation of the artistic field.

It is hard to dissociate Seymen's formal experimentalism and holistic approach from the thematic range of his works. From his very early pieces onwards the artist's fascination for relations between human beings operated as the leading and binding motive within the content. Laden with psychoanalytic implications on compassion and repulsion, his compositions pursued a choice of diverging from conciliatory and conformist conceptions on intrahuman relations and accentuating unsolvable complications and ambiguities: enigmatic turbulences between infants and parents, between lovers, S&M couples, between members of youth gangs... Seymen's engagement in digging  into the darker depths of the human psyche brought in a tendency towards transgression, production of images that are meant to instantly shock, disturb and rebuke the audience. This satyr-like self-positioning of the artist has been slightly suspended in favour of a critical distance along with the gradually increasing emphasis he has put onto the political implications of the will to power. Methods of subjugation devised by institutions of modernity; exclusionary politics of militarism, nationalism and heterosexism; normalisation of violence and its infusion into the texture of daily life; intensification of various sorts of hate speech; and new regimes of sterilisation and control regulated by capital and technology are fields on which Seymen's criticality does operate -not merely as a catalogue of defects of ideologies but as an indicator of the ways in which they delicately interlace with each other.