Their painting styles and techniques are quite similar, and yet their results are wonderfully complementary. Asuman often chooses for her subject the narrow streets of Turkish towns and villages, where the minarets of neighbourhood mosques tower over streets half in shadow, half in light. When figures are present in her paintings they are more often relegated to a secondary role, leaving the buildings themselves to tell of the life of the village, through loose washes of colors that bloom into each other, creating a sense of both solidity and transience.

Atanur's paintings create a different view of his country: that of the daily lives of ordinary people going about their tasks, or idling through the heat of the day. His figures have a great strength and sense of poetry, their lives uncomplicated and structured by the demands of a more traditional way of life. In his paintings, the blacksmith works in his forge, women pause in their labour in the fields and at home, men talk or play cards in the coffee house, an old woman gazes out on the world with a wisdom that only age and experience can provide.

Asuman and Atanur's paintings capture the essence of a traditional way of life that is passing, recording those moments of Anatolian life that will not easily survive as the process of modernisation leads Turkey into the 21st century.

The Dogans have exhibited their work in Istanbul, Ankara, Izmir and other Turkish cities, as well as in Paris, London, Zurich, Taipei, Vancouver, Victoria, Edmonton, and several cities in the U.S. Their paintings enrich many art collections around the world. In addition to painting, Asuman and Atanur are also talented sculptors, and examples of their work can be found in parks and plazas in cities throughout Turkey.