A NEW PROPOSAL OF SPACE
Gülseli Inal
From a thematic angle if the painting design of Mustafa Özel would like to include our being witness to the sacrifice of the ontological existence of the human by the societal systems, we need to turn back and take a second serious look at the painful adventure of the humankind, who has speedily consumed itself, in the era that we are currently living. While the irreparable psychological cliffs, the bodies which were defeated define the main dynamics of the canvas; on the other hand, they bring to attention the conceptual images of the spiritual dimension which has gone off the rails, as aesthetical forms. The “selves” who are distanced from their own selves, those that go beyond the balanced harmony, those who are detached from the law of completeness and the bodies that suffer, form the main movement of the Mustafa Özel aesthetical language. For the Artist, at the core center is always the human and the difficulties that he faces in his adventure on earth are worthy of being conveyed on to the painting language.   
The particularly emphasized, the spiritual, intellectual, passionate, intuitional collapse of the human is registered on the canvas by the Artist when the contradictory aesthetical discourse finally makes the images belonging to the edges of life as visible.
Per contra, the aesthetical expressions of the Artist also seem to assume a mission of putting together the reality as they emerge from the pitiless warning of the reality. The Artist who constantly indicates to something, a concept, negativity, does not focus on the proportional values of the figure on the composition while he is creating the space. The Artist completely concentrates on the body which suffers, resists, thus, which has lost its situation of harmony with the earth. In the painting language, pains, the spiritual state of resistance to pain are the main lines of the composition. What draws our attention here is that the artistic expression that has advanced in the company of “Beautiful” during the whole history of art is totally excluded in the aesthetics of Mustafa Özel. The human conception of Mustafa Özel is neither a body of the Roman era nor a sublimated state of the body as we see in the Greek sculptures, nor the bodies of the Renaissance that were attired with the sacred. The almighty and heavenly, the one which is proportional, harmonious and coherent is excluded; instead, the reality of the perceptional dimension of the Artist is replaced. The Artist chose to paint not the one which is permanent but the one which is changeable. As a result, an individual word appears in front of us: The individual world according to the Artist is a formal world. A pleasant universe is left behind and a transition is made to the principle of singularity which is interconnected to the plastic essence and the special substance dimension.