SANATORIUM presents Erol Eskici’s solo booth for Positions Berlin showcasing forms in the process of transformation rather than specific objects. Some forms in the works resemble fragments of shells, leaves, wings, or mineral folds; others appear pressed, bent, or slowly sedimented. Yet none of them can be fully defined. This ambiguity is not a deficiency, but arises from the inability of forms to settle into a single category of being.
In one part of the series, organic forms seem to have been caught in the midst of a process of petrification: at that threshold where organic matter gradually transforms into a mineral structure. The form no longer represents something; it points directly to a process of becoming. It suggests not a leaf, but becoming a leaf; not a shell, but shelling. The form gradually takes on a geological character.
In some works, a single form comes to the fore and changes within itself: it folds, unfolds, changes direction, yet never reaches a completed state. In others, several forms come together on the same surface; they approach one another, make contact, but never fully merge. In both cases, form points to a process rather than a result.
Throughout the series, a recurring morphological language becomes apparent: fan-like openings, folded membranes, toothed edges. These elements reappear from one painting to another, establishing a kinship between the works. One fold becomes a fan elsewhere; an inclined ridge reappears in another form. These echoes establish the internal coherence of the series, without imposing a fixed order. The central question of the series is how a limited number of morphological elements can generate an expansive visual field through repetition, variation, and recombination. In this sense, the works do not depict a discovered world; they construct their own worlds.
