With this study, it is aimed to reveal that Gülten İmamoğlu’s paintings have established a what kind of relationship with the concept of “time”, and created what kind of universe as a result of this relationship. This study is significant because of that it is an analysis that reveals the relationship which underlying of how a painter handles “time” in her paintings. This research performed as a case study in a qualitative pattern. This study is an existing analysis study by using document analysis and the technique of interview. The case studies base on the questions of “how” and “why” and enable to examine the depth of an event or event that the researcher cannot control. This research look for an answer “What is going on?” with a explicitive approach. Collected data was resolved with content analysis. The investigation process was carried out by the researcher. Traditional man; with the belief of “eternal return”, he repeats archetypes and myths throughout the ages and realizes the interest of non-religious time. The relevance of non-religious time has eliminated the temporality of time and a sense of “time” where everything is finite. This is prevented from drifting to a “nihilist” end of man. Humanity which adopted social and spiritual integrity is protected by a “time” insight through the ages. This approach enabled man to see himself as a part of the cosmos and positioned him in a coherent existence with cosmic rhythms. In Mircea Eliade's book “The Myth of the Eternal Return”, the concepts of “repeat”, “archetype” and “myth” are discussed. The thinker went for a comparison by putting forward the characteristics of the traditional understanding of “time” and the historical approach of “historic”, and made conclusions. It can be said that the idea of “time” reflected in the paintings of Imamoglu is fed from the same source with the understanding of “time” determined by Eliade in the “The Myth of the Eternal Return”. This work is an attempt to interpret the artist's paintings on this plane. It is suggested that the paintings of Gülten İmamoğlu should be handled in the context of the “chaos”, “orgy”, “dark” and “water” archetypes as well as their relationship with time.

Keywords: Gülten İmamoğlu, Mircea Eliade, The Myth of the Eternal Return, the eliminated of time, archetype, myth, culture, time