Fatih Öztürk's paintings are a portal to late 90s and early 2000s youth, drenched in golden light. He turns the neon of Vice City and the chunky Nokia 3310 into painterly still lifes, but it's really about the forgotten textures of childhood rooms, the smell of internet cafés, and the dust in the air. His work taps into shared memory without sentimentality.

Öztürk didn't plan to become the 'guy who paints games'—the atmosphere was already there. Now based in Copenhagen, he builds connections through imagery that feels both personal and universal. Each piece is a carefully composed trigger for anyone who remembers Snake, text tones, and the plastic chairs of LAN parties.