Doganoglu uses the imprimatura technique and replaces the conventional primer with burnt sienna to unify the backgrounds of these paintings in shades of faded, dark orange. If we choose to see the background as the “main event” in these paintings, we can begin to understand the juxtaposition of genres within this exhibition as the artist’s attempt to arrive at a fusion between portrait, landscape and still life painting. As John Brooks notes in the essay he penned for Doganoglu’s exhibition, “whether desire and love lifts us up or weighs us down, our lives are adorned and colored by their residue. Canonizing the memory of such feelings, Doganoglu juxtaposes floral still lifes and landscapes as a means to remind us that we are part of the tumult and ephemerality of the natural world. Everything we have ever known is impossibly fragile. Our lives are finite; nothing—not even Sappho’s blushing apple—really lasts”.