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 depicted sitter, in this case, the figure turns its back on the viewer, making them impossible to identify. This loss of specificity makes these paintings all the more compelling to the viewer. In continuity with Doganoglu’s other works, “Flesh” belongs to a private world, one that is slightly removed. The male body is seen through a fragment, framed in an interior setting and focusing on the skin as revealed through strategies of concealment and the desire to grasp. The textured, disorderly brush marks match the animate quality of the flesh as well as its entropy and imperfections, creating surfaces where the densities seem fleeting like a touch, in motion, always re-arrangeable into another kind of order.