Can Göknil draws viewers into a mesmerizing world, a cycle of existence like the spiraling flight of a Shaman into the sky, where the concepts of time and space vanish, and all familiar formations are erased, as she exhibits her four-year-long endeavor at the Millî Reasürans Art Gallery: Fate.

In her artistic endeavors within the realm of fairy tales, undertaken with a sensitive artistic approach and responsibility towards children (an endeavor she still pursues), Can Göknil, at some point, turns to mythology, particularly the world of Turkish legends and ancient beliefs. Today, she reinterprets the artistic dimension emerging within the mythological world, creating a contemporary and highly personal mythology, revealing the human essence at the core of millennia-old human accumulation. Her perception of the past artistically, her effort to reshape her impressions as a painter, offers us a taste of the human essence of this art, stripping humanity, wrapped in a thousand veils, and presenting it.

Can Göknil has previously showcased her works in exhibitions such as "Beliefs About Trees" (1986), "Anatolian Goddesses" (1994), "Creation Myths" (1997), and "Amulets" (1999).

In her work "Fate," Can Göknil again focuses on Turkish beliefs. As a painter, she delves into the imagery and practices that capture her interest among the rich narratives of fate. However, she categorizes her work chronologically as "Pre-Islamic Central Asia" and "Post-Islamic." This distinction opens up new horizons for the viewer to trace the continuity in the theme and makes the human dimension more noticeable.

For the Pre-Islamic Central Asia period, the two main themes selected by the artist are the Turkish Zodiac and the Messengers of Fate. The Turkish Zodiac stands out as the first herald of fate in a natural world. The Messengers of Fate, on the other hand, represent the earliest practices of fortune-telling emerging alongside fate. Both themes are highly suitable for artistic exploration.

In the Post-Islamic period, Can Göknil is interested in the topics of the Preserved Tablet (Hidden Fates) and the application of today's known constellations and star divination, called "Nücum," in those days. Themes such as talismans made to protect against future evils and the mystical squares shrouded in the mystery of Arabic letters, known as "Vefk," have also constituted the subjects of the artist's work.

Lastly, Can Göknil addresses the story of Shahmaran, which has been a source of inspiration for artists for centuries, and the theme of eternal life in the relationship between life and death.

Replacing the Fate Tablets and the Birdman Anzu sculpture, which were prominently featured in the Amulets exhibition, this time are the Mother Deer and her young, symbols of Buryat women in Central Asia who tied cloth around their horns to conceive.

Most of these topics demonstrate distinctive characteristics in terms of content, application, and artistic yield, necessitating extensive research before the artist embarks on her work. Can Göknil spent almost four years researching the fundamental sources and interpretations, particularly encompassing elements such as drawing, design, miniature, and painting. Drawing inspiration from these, she worked on her main figures while staying true to her original interpretations. She determined her technique considering the characteristics of the subject and the era. Thus, the application of all these on canvas, wooden panels, or baked clay emerges as the artist's unique interpretation.