Doganoglu’s paintings draw us into a material world made of earthy tones, subtle variations of light and fleshy textures, into the mysteries of the sitter whose body is depicted as incomplete, fragmented, with their head or other limbs missing. This loss of specificity makes these paintings all the more compelling to the viewer. In continuity with Doganoglu’s other works, “Rest” belongs to a private world, one that is slightly removed. The male sexual organs are rarely focused upon in the history of art and in contemporary media through such a depiction of the resting, flaccid mode. Both in Ancient and classical periods, and in contemporary media, the prominent ideal form of the male body and appendages has been the muscular, powerful, perfectly balanced and erect ideal of masculinity. While Doganoglu’s figures read as traditionally masculine, to depict a penis-as-fragment in this resting, fallen mode is to reveal at once the hidden vulnerability in male psyche and to expose the overarching cultural obsession with phallicism as the only form worthy of desire. As such, the work also reveals the inherent human vulnerability and weakness in the face of death, as a fundamental condition of love and tenderness.