An exemplary instance of Doğanoğlu’s framing of parts of the body, Earlobe blends figurative and impressionistic techniques towards a representation of the flesh as palpable abstraction. The impurity of the surface, achieved through the use of color and the blatancy of brushstrokes, focuses our perception on the materiality of the body and the entropic quality of flesh, hinting at a surface where the densities are always rearrangeable and ready to move into another kind of order. The skin appears as a dense yet fragile surface that bridges inside and outside, expressing temporality and a sense of intimacy stretched between a call to touch and be touched, and an introversion, a withdrawal that imposes a boundary at the same time.