Under a Watchful Gaze: The Paintings of Muslum Teke

Key Takeaways

• Exhibition merges figurative portraiture with abstract gestures
• Multiple eyes challenge viewers' perception of identity
• Turkish “evil‑eye” motif adds cultural depth
• Small canvases create intimate, focused encounters
• Critics compare Teke to Munch and Bacon

Summary

Muslum Teke’s solo exhibition "In‑between Spaces" opened at Versus Arts in East London from March 7‑14, showcasing paintings that hover between figurative portraiture and abstract expressionism. The canvases feature fragmented faces and stacked eyes, obscuring identity while emphasizing raw emotion. Critics draw parallels to Edvard Munch, Kathe Kollwitz, and Francis Bacon, noting Teke’s unique visual language. The show also weaves Turkish cultural references, such as the protective "evil‑eye" talisman, into its contemporary narrative.

Pulse Analysis

Muslum Teke’s solo show, “In‑between Spaces,” opened at Versus Arts in East London on March 7, running through March 14. The exhibition positions the Turkish‑born painter at the crossroads of figurative portraiture and abstract expressionism, a space where gestural slashes intersect with fragmented faces. By stripping identity from the subjects and foregrounding raw emotion, Teke aligns himself with the legacy of Edvard Munch and Francis Bacon while maintaining a distinct visual language. The gallery’s bright lighting and minimalist setting amplify the tension between recognisable features and chaotic brushwork, inviting visitors to linger over each canvas.

The most striking element is Teke’s obsessive focus on eyes—often stacked, colored, or animal‑like—turning the gaze into a visual puzzle. Psychological research shows that eye contact triggers trust, and Teke subverts this by presenting multiple, sometimes unsettling, gazes that oscillate between intimacy and surveillance. The motif also nods to the Turkish “nazar” amulet, believed to ward off the evil‑eye, embedding cultural heritage into a contemporary context. This blend of universal human perception and specific folklore creates a layered narrative that encourages viewers to reflect on both personal and collective anxieties.

Critical response has highlighted Teke’s ability to fuse emotional depth with market‑friendly abstraction, a combination that resonates with collectors seeking narrative‑driven works. The exhibition’s timing coincides with a broader resurgence of portrait‑centric shows in the UK, suggesting a renewed appetite for art that interrogates identity through formal experimentation. As galleries increasingly program cross‑cultural artists, Teke’s London debut may serve as a catalyst for further exploration of diaspora influences within the European art market. Anticipation builds for his next body of work, which is expected to push the boundaries of eye symbolism even further.