Gürbüz Doğan Ekşioğlu: Visualizing the Unspoken

Wit, silence, and the Art of the Visual Metaphor with Gürbüz Doğan Ekşioğlu

With a career spanning nearly five decades, Gürbüz Doğan Ekşioğlu stands as a master of visual metaphor. He began in traditional graphic arts and caricature, yet he quickly transformed simple line work into a universal language of sharp wit and quiet contemplation.

Over the years, his illustrations have reached nearly thirty countries, gracing iconic covers for The New Yorker, The New York Times, and Forbes. Most notably, his poignant Twin Towers memorial piece and “Erasing Osama” captured global attention with their striking simplicity. At the same time, Ekşioğlu seamlessly bridges editorial illustration and fine art on canvas.

Throughout this conversation, he reflects on his creative roots, the realities of navigating global acclaim, and the enduring power of silent poetry.

Formative Years and the Roots of Visual Wit

IRK: How does the sharp wit of your early caricature days continue to shape your minimalist, poetic illustrations?

Gürbüz Doğan Ekşioğlu: During my middle and high school years, the newspapers delivered to our home were filled with cartoons; I was particularly drawn to Turhan Selçuk’s comic strip Abdülcanbaz and Ali Ulvi Ersoy’s wordless cartoons. Because I loved drawing so much, I would neglect my schoolwork and end up failing my classes.

My father was keen on literature and history and wrote poetry himself, so poems were often recited at home. This interest, talent, and genetic disposition that began in my childhood truly took shape between 1975 and 1979 during my studies at the State Applied Fine Arts School, in the Department of Graphic Arts.

A lifelong dream of painting merged naturally with formal graphic arts discipline. Ultimately, this background enabled the clear visual communication of complex ideas. Consequently, depending on the context, the resulting works function fluidly as cartoons, illustrations, or fine art paintings.

IRK: What is the secret to translating local roots into universally striking covers for The New Yorker?

Gürbüz Doğan Ekşioğlu: People differ linguistically and culturally, yet just as a mother’s feelings for her child remain the same anywhere in the world, emotions in the face of art do not change either.

Art knows no language. That is why my work has resonated in so many corners of the globe; my pieces have been published in nearly 30 countries, and I can say that I have built an international art career. In the same way.

Navigating Collective Memory and Geopolitics

IRK: When your work becomes part of collective grief like your 9/11 anniversary cover for The New Yorker, how do you navigate the weigh of illustrating a wound shared by millions?

Gürbüz Doğan Ekşioğlu: Among the eight covers created for The New Yorker, the Twin Towers piece remains the most prominent. Published in 2003 for the second anniversary, it consequently generated an immense public reaction. In fact, renowned writer Susan Sontag even sent an email, sharing that the cover moved her to tears.

In graphic creation whether cartoons, illustrations, or posters, what matters most is the ability to convey a subject or an idea in a very clever, highly original, yet simple way. At that moment, I expressed the event by crafting such a visual.

IRK: In works like Erasing Osama, how do you distill complex geopolitical narratives into a single, seamless visual metaphor?

Gürbüz Doğan Ekşioğlu: I have always been a keen follower of politics, constantly asking critical questions such as why, for what reason, and how in search of deeper answers.

Historical insight into how geopolitical projects manufacture and dismantle figures like Osama bin Laden proved invaluable. Ultimately, this critical perspective directly shaped the conceptual framework and visual expression of the piece.

IRK: In an era dominated by AI and rapid digitalization, what is the core artistic principle you impart to the next generation?

Gürbüz Doğan Ekşioğlu: Artificial Intelligence entered our lives at tremendous speed and continues to take over every single field at full throttle. In fact, I can say that the flood of AI-generated visuals on social media has left me nearly exhausted.

Interest in static imagery is declining rapidly today. Audiences increasingly favor quick entertainment over deep contemplation. Still, curiosity remains regarding how my work might translate through artificial intelligence. Experimenting on such creative projects with an AI specialist would be truly exciting.

The Genesis of Style: The Minimalist Spark of Gürbüz Doğan Ekşioğlu

IRK: Minimalism often hides a long battle with complexity. When you hit that perfect visual metaphor, is it an instinctive spark or the outcome of endless editing?

Gürbüz Doğan Ekşioğlu: In 1977, during my second year as a fine arts student, a personal project emerged outside class. The piece depicted dozens of Rodin’s The Thinker sculptures gathered at a bus stop. They stood waiting together in complete silence, mirroring the quiet commute of everyday passengers.

This piece holds a very special place in my heart. Even if created today, the approach would remain exactly the same. Just as poets, writers, and painters develop their distinct voices, my artistic style emerged naturally through this work.

IRK: How do you balance producing from Turkey while maintaining such an enduring, influential presence on the global art stage?

Gürbüz Doğan Ekşioğlu: Having global recognition brings immense joy. However, language barriers have created significant personal limitations and complicated direct dialogue. With few exceptions, I might almost say I have felt pinned in place like a nail. I have done my very best in Turkey.

Yet, with the sharp decline in print media, laughable copyright fees, and advertising agencies no longer seeking illustration, the market has completely dried up.

I held my first exhibition featuring acrylic and oil paintings in 2008. Since then, my exhibitions have focused primarily on canvas works, featuring acrylic and oil paintings. Alongside these, limited-edition, hand-signed fine art prints of digital drawings are regularly produced. To date, a total of 60 solo exhibitions have taken place. Looking ahead, a new exhibition in Istanbul will open on October 2, focusing mainly on these fine art prints.

The Visual Universe of Gürbüz Doğan Ekşioğlu

IRK: How does your creative mindset shift when moving between the freedom of a physical canvas and the pages of a printed magazine?

Gürbüz Doğan Ekşioğlu: Whenever I work on a specific topic or commission, my primary focus is to discover the most impactful concept possible and transform it into a resonant, original visual.

However, when working on canvas, I find myself in a space of complete freedom.Rather than relying on literal narratives, the work emphasizes aesthetic harmony and visual allure. At times, it embraces an intentional mystery that refuses to reveal itself immediately to the viewer.

IRK: Are recurring elements like cats and staircases your artistic comfort zone, or a key to unlocking endless new stories?

Gürbüz Doğan Ekşioğlu: Cats, on the other hand, began in 1991 when The New Yorker liked my portfolio and I was drafting cover sketches. My very first cover, published in the first issue of January 1992, featured a painting with a cat.

Its immense popularity sparked a large series of cat paintings. Later on, these pieces were compiled into a book. Beyond felines, my work explores themes like the sea, birds, coffee cups, romance, and literature.

IRK: After decades of creating, where does your faith in art’s ability to
transcend borders and shift perspectives stand today?

Gürbüz Doğan Ekşioğlu: It is the circumstances we find ourselves in that define who we are. It is the circumstances we find ourselves in that define who we are. There were genuine offers to stay in New York. Had that happened, my current position would be completely different.

My portfolio includes numerous three-dimensional works ready to be exhibited. In fact, showcasing this art across different cultures has always been a genuine aspiration. Admittedly, current circumstances inevitably set the boundaries of my movement; even so, a deep sense of gratitude remains.