He was born in 1957 in Adıyaman. He graduated from Marmara University Faculty of Fine Arts in 1983. Then, he went to Paris with the scholarship of the French Government; stayed here for two years. In the 1990s he moved to Istanbul returned to Turkey.
İsmet Doğan, in his first works in the 1980s; He problematized the concepts of history, culture and tradition by combining them with the techniques of dadaism-collage, montage, graffiti and "ready-made" objects. If a thinker, in the history of Turkey, which was especially imposing of westernization-modernization project, the appropriation meat-violence and focused on the effects of trauma. Ismet Dogan's work, submission of the Latin alphabet, the language reform that took place in Turkey in the early 20th century, is the expression used as a political tool of social engineering that open. According to İsmet Doğan, this political instrumentalization later led to the alienation of society from its own culture. The artist sees in it a violent political action that is traumatizing. Dogan's problematic of modernization is fictionalized by words (such as Logos, BâBâ) or randomly distributed letters on his canvas, and these continue as an integral part of his work until today.
In the 2000s, by adding another critical dimension to his works, he especially focused on the issue of colonialism and approached the subject with a strategy in terms of cinematographic material changes with references to art history. İsmet Doğan makes small changes in these scenes by placing his own image in the frames and makes a critical comment on the representational systems that Western visual culture appropriates at the same time with the process of establishing an identity-identity with the film characters. In the same period, mirrors become a fundamental work material for Doğan. The audience reflects, multiplies and encounters its own body as a stranger in semi-matt or transparent mirrors and convex and convex mirrors. Moreover, it functions as a part of the artwork as another thing.