Let us take the set of portraits from the Subjects series as an example. This work is based on the use of student photographs collected from a yearbook from the 80’s. From this, Erol Eskici develops a gallery of painted portraits, anchored in the recent past of the Turkish nation loaded with ideology. The choice of this yearbook is caused by the artist’s political substratum; it is an effective weapon of nationalism overwhelming the youth. The uniqueness of these images stem from the cutouts, the holes made by the artist on the faces of the children pinned down by the institution. These gaps are abysses in which the viewer and the subjects are isolated; where the memory and the history go astray; which open to other gaps inserted into other faces. There are as many holes as there are lost subjects… Yet, the faces get reunited; they emerge from under the damaged layers. So, here we speak of the subjects and thereby worklessness (see Blanchot) involved in the very construction of the work and its subjects. It thus seems that Erol Eskici takes the side of the nega-tive in order to castrate patriarchal fantasies of the Nation-State which reduces the individual to a mask. Considering the weight of history—in Turkey and elsewhere—with its multiple exploitations against the structure-architecture of the ideology of language, these are eminently violent images.