During the past years that were defined by series of uncertainties, Ata managed to sustain his artistic existence within a certain personal pictorial language against and despite the inherent injustice of social institutions and the life itself. His consistency was enabled by two thematic anchors he has solidly hold on to: the records of his autobiographic transformations and the schools of painting in Early Renaissance. Ata points out the thematic framework of his paintings as such: 'We usually see figures that melt into spatial network, that are crushed by or pushed to the background by the heaviness of the space. This figure has an implication to auto-portraiture, yet it also points to the idea of an artist in general. Architectural components, or any element that serve to the feeling of the space represent the structural, the informational and the cultural. Various interpretations of the painting in Early Renaissance, that I have always referred back to whenever I looked for answers of any kind, have thus come to play the central role in my works.'

The way Ata organizes his thematic pictorial components and applies them to contemporary Istanbul, involves his paintings authentic. He positions himself at a permeable point in a particularly unpretentious manner and thus records and transmits the tides of his personal and the quotidian. On top of it, thanks to his kind treatment of Early Renaissance painting he carries in an eclectic humor and a subtle criticism, that would not be revealed in any other way than the implementation of Early Renaissance style that was developed before and outside of the 'academic' and 'monotonous' understanding of modern 'perspective.' The absurd quality in Ata's works, that were only to be expressed within a fully pictorial language, involves a genuine record for the rave and exuberance overall in 2000s.