The element that defines the identity of Franco’s characters is the whiteness of the skin […] a reminiscence of the distinct mark of the bourgeois class in the Levant, and more precisely in Turkey, his homeland. In the drawings, however, whiteness is not a color but rather a transparency, which betrays the opacity and anachronism of Turkishness.
The works of color, bold and sensual, are essentially a lament for what was and is no more: The flowers are a representative detail of an entire missing whole, and the use of glass compresses the fragility conceptually.

Aharon Shabtai