The prickliest examples of Mustafa Horasan's desire to confront the ominous states of the human soul and the unknown perversions sheltered by darkness that grow more and more inside us the more we repress them are hidden away in a series of paintings to which he gave the name Alacakaranlik [Twilight]. These paintings are enveloped in a twilight-like atmosphere by a contrasting balance of black and white that suggests the dichotomy of the soul and its weakness when confronted by desires. They assert that human beings possess an essential core in which the conscious and animal instincts are joined together and that they incorporate the rawest forms of evil, menace, and violence no matter how innocent they may appear outwardly and despite every effort to educate them. Since the very beginning, Horasan has been interested in the reactions of the cornered individual, the violence inflicted not just on strangers but even on those with whom one shares a common past, the threats concealed by faces hidden behind masks, and the appearance of the body as flesh at the edge of darkness. In Twilight, the artist personifies his figures employing the categories of evil as his vehicle.