SANATORIUM is pleased to present Çağla Köseoğulları’s first solo exhibition in the United States titled “Seeping Into the Horizon” at Fierman, New York from April 2 to May 8. The exhibition brings together works on paper alongside a short video installation, continuing the artist’s exploration of bodily memory, gesture, and the fragile relationship between image and surface.
Köseoğulları’s practice spans drawing, painting, video, and ceramics, developing from her ongoing research around drawing as both a material and performative process. Working primarily with ink, charcoal, and charcoal powder, the artist produces images that remain porous, atmospheric, and open to transformation. Her works often emerge through intuitive gestures that record subtle traces of bodily movement, turning surfaces into spaces where memory, perception, and material presence intersect.
Works made with blue ink spread across the paper through stains, dispersions, and layered movements, establishing a surface that explores the thresholds where forms emerge and dissolve. Color functions less as a means of depiction than as a condition, an environment in which images slowly appear and fade; the horizon emerges here like an object of desire that continually recedes and can never be fully grasped.
Alongside these works, a group of black-and-white drawings and a video piece relate to the artist’s earlier body of work. The project consists of ink on paper works and a 1-minute-31-second looping video originating from the experience of observing landscapes from a moving train. Using her eyes, hands, and instincts almost like a camera, Köseoğulları records fleeting impressions left by rapidly passing scenes. The works reflect the traces and marks that landscapes imprint on the mind as they disappear from view, revealing a perception of time that slips away within the rhythm of everyday routines.
Rather than narrating a train journey directly, the works focus on the act of seeing itself. Observation and movement form the central axis of the work: the eye follows the landscape while the landscape simultaneously moves past the eye. What remains is not the scene itself but its residue, a stain of what has been seen, a trace of what has been remembered.
Rivers, hills, plains, and tunnels dissolve into gestures and marks that hover between abstraction and landscape. As the memory of the scene fades, its imprint persists, transforming into form. These images operate like small pockets of recollection in which passing experiences accumulate and settle.
Across the works presented in “Seeping Into the Horizon”, Köseoğulları approaches drawing as a temporal act, one that records moments of contact between the body, memory, and the world. Marks emerge slowly, disperse, and accumulate, forming quiet images that hover between appearance and disappearance.
