The paintings touch on topics such as the Big Bang, space, death, apocalypse, especially from sources such as popular history, cinema history, current politics, music, and 'meme' culture. While the image of climate activist Greta Thunberg aged by artificial intelligence, or Tilikum, which went down in history as the whale that killed the most people, reminds us of nature and our destruction of it, global warming and the natural disaster scenarios that await us, the "Overview Effect" he encounters when he searches for the simplest way of looking at the Earth from space on Wikipedia.org expresses a kind of alienation. This expression, which describes how astronauts who go to space feel alienated from all human concerns when they see the Earth from the outside and how they are left with only the instinct to save the perfectly moving Earth with its harmonious colours, becomes an integral part of the process of the resulting work. Focusing again on the formation of the world and the relationship between knowledge and reality, Dino brings together in a single image the possibility that dinosaurs existed, whether they came from birds or lizards, and the scenario of a Velociraptor becoming a bird. Referring to the cloudiness of information and the search for reality, this work expresses the fact that the internet can only reach the source of information in parallel with its own existence. Questions about the distant past and the future remain uncertain, even in all online environments. In another painting, the character Neo from The Matrix emerges from the bathtub exactly as he does in the movie. Simultaneously, the caption "I hate sex cause my boss fuck me every day" becomes a humorous expression of going to work every day in the real world and the enslavement of people to routines. In Angel, the artist uses the popular Photoshop embossing effect to show the silhouette of a rapper who has become an angel, referencing the SoundCloud rap genre. The image, trapped in the curse of being contemporary but petrified, frozen, turned into a historical pictogram, reminds us of the subcultures and lifestyles created by the popular world through music.
The paintings include images of Akıncıtürk himself, his inner world, and his surroundings. For example, the car accelerating on an endless asphalt with a hand on the steering wheel is just one of the many images he has collected. The artist frequently uses the metaphor of speed and road, reflecting his sense of adrenaline and futurism. The face painting, which creates an uncanny, disturbing, but at the same time amusing expression in the corner of a smooth picture, could very well be his self-portrait. A caricature he drew of himself while painting and an image of a monkey on the same surface is a multi-element composition that does not rely entirely on imitation. The artist also painted from a photograph he took in the kitchen of his own home, holding a hammer in his hand. The scene, which reflects an amateurish shot of a hand similar to the one in a first-person shooter computer game, gives an unsettling and eerie feeling while the real story behind it makes a twist. The hammer is merely a tool recommended by the artist's doctor to exercise his injured arm. A freeze-frame of this gesture evokes an intruder in the house or the moment just before an act of violence, while the colour fields and absurd placements break the scene’s realism. Üzme Tatlı Canını is an image taken from the cover of a book by Pitigrilli, one of the representatives of the Italian Beat generation, translated into Turkish in the 1970s. For the artist, who came across this book by chance, the graphic design of the 70s with the writings in prisms reflects the language of a certain culture both verbally and visually.
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