ARTIST: CARLOS LUNA JAMES (MGOGLKTKO)

VANGUARD ARTISTS

Curated by Tam Gryn

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"I'm thrilled to announce our choice of artists for the Vanguard exhibition: Felipe Aguilar and MGOGLKTKO. Felipe Aguilar’s "Reality Change" series poignantly captures the universal human narrative of migration through the lens of the Cuban Diaspora, blending traditional and digital techniques to create immersive, thought-provoking experiences.

Carlos Luna James, known as MGOGLKTKO, brings a different but equally compelling perspective. As a multimedia installation artist from Juarez Chih, Carlos blends physical and digital art to create immersive installations that draw from science fiction, fantasy, culture, and technology. His optimistic and empathetic worldview shines through his work, which seamlessly incorporates digital screens, projectors, sound design, and video mapping. Carlos has showcased his work at prestigious venues like Sotheby's and has made a mark in the NFT space with exhibitions at NFT Liverpool and NFT NYC. His collaborations with industry giants like TIME Magazine and the Latin Grammys further highlight his position as a leading voice in contemporary art.

Tam Gryn chose Fabi Cruz for her exhibition "Vanguard" due to Cruz's innovative and interdisciplinary approach to Visual Music, which uniquely bridges the gap between auditory and visual experiences. Renowned for her ability to translate her compositions into vibrant, animated videos that embody her synesthetic perception, Cruz's work captivates creates a sensory crossover that allows one to "see sounds and hear colors."

These artists push the boundaries of their mediums, offering fresh an innovative perspectives that make them ideal choices for our exhibition.”

—Vanguard Curator, Tam Gryn

GALLERY

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Carlos Luna James_image2.jpg

Carlos Luna James (MGOGLKTKO), Los Angeles, USA

1st Place Curator’s Choice

Stealness Kin

In the labyrinth of childhood dreams, Carlos Luna James, also known as MGOGLKTKO (mago galaktiko) discovered a profound nexus between cultures, technology, and the transformative power of storytelling. 

Growing up amidst the vibrant hues of Juarez, a border town pulsating with the rhythms of Mexican and American influences,—a tapestry that ignited his fascination with cultural hybridization and laid the foundation for his artistic journey.

Driven by an unwavering passion for sci-fi, culture, and technology, Carlos embarked on a quest to craft experiences that transcended the boundaries of reality and imagination. With each brushstroke and pixel of animation, he sought to transport audiences into a realm where the lines between the tangible and the digital blur, inviting them to envision a future where technology serves as a conduit for collective consciousness.

In the epoch of 2013, Carlos's journey took a transformative turn as he birthed his distinctive artistic vision. Drawing inspiration from his multicultural upbringing, he forged a path that merged physical elements with digital realms, blurring the lines between art and technology. His creations found a home in gallery shows, art fairs, and festivals, captivating audiences with their immersive narratives and visionary aesthetics.

Yet, it was within the enigmatic depths of the NFT revolution that Carlos discovered a revolutionary tool to preserve his artistic legacy. Through the transformative power of blockchain technology, he found a means to immortalize his creations, each piece forever etched into the digital fabric of the universe. NFTs not only provided a platform for showcasing his work on a global scale but also opened doors to showcase his art on a global stage, including prestigious venues such as Sotheby's auction house and collaborations with esteemed brands and influencers—from TIME Magazine to the Latin Grammys, and from music producer Timbaland to influencer Jake Paul.

With every exhibition and collaboration, Carlos's vision expanded, fueled by the boundless possibilities of technology and the enduring power of storytelling. As he continued to weave his narrative through art, he remained steadfast in his belief that art, technology, and storytelling were catalysts for societal change—a beacon of hope guiding humanity towards a brighter, more inclusive future.

In the ever-evolving landscape of art and technology, Carlos Luna James stood as a testament to the transformative potential of creativity and innovation. A storyteller, a dreamer, and a guardian of positive energy, he invited others to join him on a journey of discovery where imagination knew no bounds.

1st Place Curator’s Choice

Christopher Jeauhn Bayne, Vienna, Austria

Peony

138.5x78”, Wallpaper enhanced with augmented reality in 3D (more information below)

Euro 2,900- (including VAT, excluding shipping)

Delivered in numbered rolls. Smaller formats, and various substrates, available upon request.

Peony is an intriguing fusion of natural beauty and industrial texture, manifesting both as functional wallpaper and a stand-alone fine art piece, that was originally created as a carpet design in 2019 (although never produced as such). Instead, the artist revisited the design in 2020 and adapted it for wall art, making it available both as wallpaper (352 x 198cm / 138.5 x 78 inches) as well as smaller sized fine art prints (e.g. 176 x 99cm / 69 x 39 iches)

The subject is a blooming peony, captured in the dynamic form of a time-lapse video viewable in the augmented reality enhancement. Certain frames of the video have been extracted and combined to create a single, layered image that conveys the sense of growth and temporal change within a static medium. The colors are dominated by varying shades of pink, ranging from soft, delicate pastels to deep, vibrant magentas. These are juxtaposed with the overlayed textures derived from rusted metals, suggesting a surface that is rich with age and transformation.

Enhanced with 3D augmented reality, this artwork transcends its two-dimensional limits. The AR feature adds a level of interaction, allowing viewers to engage with the piece by witnessing the peony bloom and close in a continuous, lifelike cycle.

The choice to combine the imagery of a blooming flower with the decay inherent in the textures of rusted metal creates a compelling commentary on the cycle of life and the passage of time. It’s a conversation between the ephemeral and the eternal, the organic and the man-made, each element enhanced by the augmented reality to create a multidimensional experience that is both contemplative and captivating. Use the free app, ARTIVIVE, to experience the augmented reality

Sistine Eden

250 x 95.3”, Wallpaper enhanced with augmented reality in 3D (more information below)

Euro 3,900- (including VAT, excluding shipping)

Delivered in numbered rolls. Smaller formats, and various substrates, available upon request.

The artwork Sistine Eden by Christopher Jeauhn Bayne is a lush and intricate composition that doubles as both a detailed piece of art and as a functional wallpaper, spanning a size of 635 x 242 cm (approximately 250 x 95.3 inches). This expansive work features a mesmerizing array of elements drawn from both natural and mythical realms.

The scene is an opulent display of nature’s diversity, brimming with a myriad of flowers in full, vibrant bloom. These are set against a rich, dark blue background with an intricate damask pattern that adds depth to the composition. This backdrop could suggest the sky or the deep sea, adding another layer of ambiguity between the different natural realms. Sea creatures like fish and turtles swim through parts of the artwork that resemble water, blurring the lines between land and sea. In addition to the natural elements, there are mythical creatures such as unicorns, which infuse the scene with a sense of wonder and fantasy.

Incorporated into this abundance are classical human figures and statues that evoke a Renaissance atmosphere, an inspiration for the piece’s title. These figures interact gracefully with their environment, either reaching out amidst the blooms or emerging from the foliage, bridging the gap between classical art and nature. A key feature on the right side of the artwork is the inclusion of the hand of God, a direct extract from the iconic imagery of the Sistine Chapel. This element serves as a visual anchor, drawing the threads of historical artistic achievement together with the modern-day artistry of Bayne.

The artwork is enhanced with augmented reality in 3D, which adds an additional dimension of interactivity. This technology animates the already lively scene with the movement of animals, allowing the divine hand of God to reach into the space of the viewer, making “Sistine Eden” a living work that extends beyond its surface into the space of the room it adorns. (The full size artwork has 7 AR activation points, while smaller sizes activate as a whole. Use the free app, ARTIVIVE, to experience the augmented reality.)

Botanical Chair

29.13 x 15.75 x 24.80”, Furniture enhanced with augmented reality in 3D (more information below)

Euro 3,100- (including VAT, excluding shipping)

This chair can be considered a sculptural artwork, combining furniture with fine art, and infusing comfort with an immersive visual experience. Upholstered in soft velvet, it provides a tactile delight, while the print covering its surface is a dazzling array of botanical designs representing the detailed work of Christopher Jeauhn Bayne.

This isn’t just any ordinary chair; it’s a canvas of lush flora and fauna. The print is a cornucopia of colors, with flowers of many species bursting forth in an extravagant display. Interspersed with the botanical elements are creatures that might be found in a fantastical garden: birds with brilliant plumage, insects with delicate wings, and other hidden beings that speak to a world teeming with life. The augmented reality feature in 3D promises an even more engaging experience, with elements of the chair coming to life. Butterflies flutter in the front, while a tiger strolls along the back of the chair, the scenes pulsing with the rhythms of an enchanted land.

The chair itself has a modern design, with clean lines and tapered wooden legs that give it a contemporary feel. The lush, almost overflowing nature of the print contrasts with the chair’s simple structure, making it a statement piece that could serve as the focal point in any room.

This chair is a functional piece of art, an invitation to sit and be surrounded by the beauty of a garden that transcends the ordinary, blending the boundary between the space we inhabit and the wild, resplendent natural world that inspires us. Use the free app, ARTIVIVE, to experience the augmented reality

Christopher Jeauhn Bayne’s formal introduction to art was through textile design, in his home country, South Africa. After arriving in Europe in 1993, he branched out into acrylic painting followed by mixed-media techniques a few years later. In 2015, he exchanged his brushes and canvasses for digital equivalents. 

His artworks are born digitally, yet they are produced industrially, on acrylic glass, aluminium, photographic paper or even on wood, wallpapers or textiles. Augmented reality reinforces the digital birth of the artwork and assists in the storytelling process. In effect, they come alive in front of the viewer.

Inspired by people, society, religion, history, and the natural world in general, Christopher’s work consists of many layers of imagery, which fuse to form a composite whole. Fascinated by dualism and polarity in all aspects, he creates art which blends beauty and horror, yin and yang, dark and light, pixels and dpi, to create an experience, heightened by augmented reality, in which the viewer can move between fascination and consternation. 

In 2020, his work was selected by curators from the Museum of Contemporary Digital Art as well as the LumenPrize (the latter being a group of curators from the British Tate Museum and V&A Museum, London, and the Whitney Museum in New York City) to be presented at CADAF (Contemporary and Digital Art Fair) 2020. 

As to his academic qualifications, Christopher holds a Master’s Degree in Creative Media Practice, with distinction, from Middlesex University in London, a Certificate in Transmedia Storytelling, from the SAE Institute of Technology Online and a Diploma in Web Design and Development, from the SAE Institute of Technology, Vienna.

Christopher Jeauhn Bayne

Fabi Cruz, Caracas, Venezuela

3rd Place Curator’s Choice

Gl1tch

30x30”, Gliclée digital print on Hahnemühle art paper, $120

March

50x40”, Gliclée digital print on Hahnemühle art paper, $190

The Drop

420x30”, Gliclée digital print on Hahnemühle art paper, $160

Born in Caracas, Venezuela, 1984. Graduated in Visual Arts from La Sorbonne University - Paris I - (Paris, France). She currently lives and works between Paris, France and Valencia, Spain, where she continues her research into visual music and synesthesia, explored through new technologies like Virtual and Augmented Reality.

Fabi Cruz is an artist and musician, best known for creating Visual Music pieces that explore the link between image and sound. She creates abstract animated videos in which she translates the music she composes into shapes, colors and movement, according to her own synesthetic perception. Her intention, as she says, is “to trick the brain, if only for a second, into seeing sounds and hearing colors”.

In recent years she’s had collaborations with Atelier Athem, for a projection on the facade of the Cité de la Musique, in Paris, and with the Miami Symphony Orchestra for a projection on a sculpture by Zaha Hadid located at the Moore Building. 

Her work is like a musical score, where each sound is represented visually, and works with an augmented reality app that allows us to discover the sounds behind the forms using a tablet or smartphone, overlaying the animation video on the graphic in real time. 

Ariel Baron-Robbins, Miami, Florida, USA

A woman drawing her own shadow

7.5x11.4”, NFT and video print Infinite object, $500

Drawing on a Wall

NFT, digital media, GAN AI, $500

Drawing on the Highline 2024

NFT, digital media, GAN AI, $500

I am an interdisciplinary artist specializing in Digital Media and Drawing, who currently teaches Animation at Florida International University as a Visiting Associate Professor. I earned a MFA in Interdisciplinary Studies from the University of South Florida, and have over 12 years of experience teaching Drawing and Digital Art in South Florida.

My art practice is long term. The first are continuations of my video drawings from 2008-2009 and the second is an ongoing project that began 2 years ago. The continuations focus on the movement of my body as I draw rather than the marks that are made. These visualizations began in 2008 and have been updated every few years since then. They will be continued until I can no longer physically create them. Over the years, I hope they will sprout and change, adapt to the current time or harken back to the past. In this iteration, I have recorded 2 additional video drawings (not submitted) and create 4 AI - generated videos which are prompt and style transfers from the new videos.

The second work I have submitted is my ongoing project Loop Art Critique which is a gesamtkunstwerk. It began in 2022 with help from the MUD Foundation in Miami, FL and was exhibited in their annual exhibition. It functions both as a large metaverse artwork and an experimental critique space with an exhibition hall. It is still in operation and has been exhibited in MUD’s 2023 show as well as the WESTAF Creative Vitality summit in 2024.

I recently had a solo show at MIFA Miami. Additionally, I have organized and participated in multiple panels at national and international art conferences. This April I was on a panel at the Creative Vitality Summit titled “Immersive Realities” with artists David Sainte and Antonio Mendez (Queef Latina) chaired by Rodolfo Peraza. Last fall I chaired a panel titled “What to call Digital Art, Now?” at Lynn University in 2023. I also spoke on artificial intelligence in Contemporary Art at the Ratcliffe Incubator space at FIU in 2023 and Tempus Projects in Tampa, FL in 2022. 

Peter Vance, Oxford, United Kingdom

Latent Space, The Himalayas

Latent Space, The Himalayas, (Edition of 10) 100 cm x 100 cm, original on C-Type Print (Fuji Flex),

Archival Giclee Print (Hahnemühle Pearl)

Print: Euro 1,200 (including VAT, excluding shipping)

Latent Space, The Grand Canyon

Latent Space: The Grand Canyon (Edition of 10) 100 cm x 100 cm, original on C-Type Print (Fuji Flex),

Archival Giclee Print (Hahnemühle Pearl)

Print: Euro 1,200 (including VAT, excluding shipping)

Latent Space, The Alps

Latent Space, The Alps, (Edition of 10) 100 cm x 100 cm, original on C-Type Print (Fuji Flex),

Archival Giclee Print (Hahnemühle Pearl)

Print: Euro 1,200 (including VAT, excluding shipping)

These works are created through the selection and placement of pixels from pre-existing images to form a digital collage. This process is applied to groups of images formed by an AI from the same prompt. Part of an ongoing series, my works are an exploration into the underlying structures of AI image generators and of the pixel as a carrier of information.

When an AI image generator is being trained, a mathematical construct known as Latent Space is created. In this multi-dimensional structure, each point in space represents an image and points that are closer together are images that are more alike. When prompted, the AI navigates to the area of latent space it strongly associates with that input - proceeding to decode the information at that point into a specific arrangement of pixels.

Whilst each pixel on its own is meaningless, in the correct context of others something recognizable emerges. This boundary between the purely abstract and the meaningful fascinates me, so the methodology used to create the work emphasises the granularity of digital images and the fundamentally abstract unit that composes them. With the functioning of AI image generators in mind, the amalgams of pixels I create represent sections of latent space - of the general arrangements that the AI associates with a distinct input.

The works also explore the parallels that can be drawn between the art of collage and the creation of latent space. Both use pre-existing materials in the creation of new forms and both bring questions of authorship to the fore.

Peter Vance Headshot.

The specific way that pixels are placed in the collage retains the watermark present in the AI generated source material. In this, the process employed to create the work credits the AI in a way that the AI is unable to credit those responsible for its training data. In fact, even my own intervention at the end of a long line of authors (the Al's creators, those responsible for the training data, the AI itself) is overwritten by the watermark.

The series’ focus on natural landscapes was initially intended to contrast with the synthetic and mechanical operations of the Al. Through the creation of the work it has become increasingly intriguing to consider how different, if at all, an Al's understanding of nature is to our own. As we navigate the world are we simultaneously navigating our own latent spaces? Whilst the range of senses we have available to us is currently much greater than that available to an Al, the experience from those senses forms what could be described as training data.

From this perspective, given that the Al is trained by images made by a huge number of people, by attempting to represent latent space each collage implicitly represents how a collective has categorized an aspect of reality.

Since graduating from Camberwell College of Art in 2014, Peter Vance (b. 1991) has exhibited work both nationally and internationally. His practice is focused on the various means by which information is transmitted, exploring this through the formulation of processes that translate or arrange information into new forms. 

Currently based in Oxford, UK, his most recent works look at the fundamental unit of digital images, the pixel, particularly in relation to AI image generation and the questions of abstraction and authorship that this topic naturally invokes.

Whilst Artist in Residence at the Pilotenkueche International Art Program in Leipzig, Germany (2017), and later as Artist in Residence at the Print and Paper Museum in Tartu, Estonia (2018), his works centered on the theme of language. His research focused on photographic techniques to make the audible become visible and methodologies inspired by weaving to translate visual data into auditory experiences.

This year Vance has been shortlisted for the Alpine Fellowship Visual Art Prize and the Yicca International Art prize. For the latter, his work will be exhibited at ImagoArs, Venice, this September. In June, Vance’s new exhibition “Thought Forms” will be featured at 571 Gallery, Reading’s leading artist-run space. The exhibition will showcase audio-visual installation and experimental, analogue photography that explores the aesthetics of language and the thin boundary between abstraction and meaning. 

Felipe Aguilar, Bogotá, Colombia

2nd Place Curator’s Choice

Reality Change I

20x30”, fine art print

Reality Change II

20x30”, fine art print

Reality Change III

20x30”, fine art print

Reality Change IV

20x30”, fine art print

THEME

Migration is the enduring narrative of humanity, from nomadic tribes on, or driven by wars, environmental disasters, or social upheaval, Man has always been on the move. Within a few generations in most families, there's a pivotal journey that reshapes destinies. For instance, my maternal grandfather, a German Jew, made the voyage to Colombia at the onset of Nazism. On my paternal side, the family had to relocate several times during Colombia's turbulent "La Violencia" era. "Reality Change" pays tribute to this migratory spirit, with a focus on the Cuban Diaspora, prominent in Miami, the place I migrated to. In 2022, a record 200,000 Cubans arrived in the USA, with many risking their lives on homemade boats to reach Florida's shores. Upon arrival, they rush to find their contacts, leaving the boats ashore for a day or two before the US Coast Guard tows and dismantles them. I embarked on a mission to document and preserve these transient yet life-altering artifacts. This project honors the intertwined human stories within these boats, recognizing their significance as tangible symbols of hope amid adversity. It underscores their importance in the local community and in the broader context of global migration. The project stands as testament to the ingenuity and determination required to transform one's reality. 

METHOD

The “Reality Change” series adopts an innovative approach to found object art or assemblage, every boat within the series was actually found on Florida beaches, and then carefully scanned using photogrammetry. This technique involves photographing an object from multiple angles and digitally reconstructing it into an exact three-dimensional replica in the virtual realm. This method captures each boats’ unique volume, presence, and materiality. In four individual tableaux, the scans were composited and repeated strategically in virtual space, ensuring their multidimensionality was presented through various viewing angles. Attention was then given to lighting, meticulously replicating the illumination present in the background photographs. In this way reflections and shadows are cast by the 3D boats, blending them seamlessly with their surroundings and producing unique and cohesive compositions. 

CONCEPTS

The multiplicity or repetition of vessels in each tableau conceptually suggests the many other boats that set out on their fateful voyages, but are not recorded, or perhaps don’t make it to their intended destination. The burgeoning splashes of water touch upon the whirlwind of emotions when facing new and complex situations, and are also a reference to water’s cleansing nature, implying new beginnings. In the compositions, the assemblage of boats breathe new life and meaning to the idyllic "Florida Postcard" photographic backgrounds, aiming for a striking juxtaposition that prompts reflection and engagement. This contrast is relevant as many local residents are not aware of the issue at hand, or rather prefer to keep it out of sight, out of mind. 

MEDIUM

The pieces in the project encompass four digital tableaux, and can vary in scale, and a series of fine art prints which are 30in by 20in. A key aspect, is that the project has an interactive component to it; the boats can be experienced at full scale via Augmented Reality, making an immersive exploration of their many surprising details and intricacies possible. Also, the possibility of experiencing the digital version of the boats to scale instantly and anywhere in the world, further develops the displacement and migration concept of the series. The preservation of tangible objects within the realm of virtual space is a concept that deeply resonates with me. It’s implications extend and encompass journalistic and historical dimensions. By immortalizing these tangible artifacts through digital means, we not only celebrate their existence but also ensure their accessibility for future generations to appreciate and study, fostering empathy, understanding, and appreciation for the human stories entwined within them. The audio interview from Daniel Pineiro, who migrated from Cuba in a vessel such as these ones, acts as the backdrop in the installation version of Reality Change. A powerful and emotional first hand account of the journey. 

RESEARCH / CONTEXT

Migration in art acts as a catalyst for dialogue, sparking conversations on topics such as identity, displacement, cultural assimilation, and social justice. It encourages viewers to confront their own perspectives, prejudices, and privileges, fostering a deeper understanding and appreciation of the migrant experience. The exploration of this theme in art unveils our shared humanity, offering a powerful means of examining some of the social and cultural dynamics of our globalized world. 

At the heart of Felipe’s work is a deep curiosity about the world and a desire to share that curiosity with others. He seeks out the unexpected and the overlooked, and presents them in ways that encourage the viewer to see the world around them in a new light of understanding and appreciation. His projects widen the gamut of the documentary experience; using photography, film, and emerging technologies like Augmented Reality and Artificial Intelligence. Large scale documentary photography that comes to life via AR, or the digital displacement of real items via photogrammetry, are some of the layered ways in which he explores and celebrates the wonders, the unexpected, and the intricacies of everyday life. He views art as a revealing agent, and technology as an enabler for presenting new points of view. His commissions include projects with The United Nations, The Government of Colombia, USAID, and NatGeo. His independent projects have been present at the Berlinale, the Cannes Short Film Corner, the CERN Institute in Geneva, the NewImages Festival in Paris, CADAF NYC, and recently, one of his photographs was showcased in outer space, as part of the Portrait of Humanity project by the British Journal of Photography. 

Migration is the enduring narrative of humanity, from nomadic tribes on, or driven by wars, environmental disasters, or social upheaval, Man has always been on the move. Within a few generations in most families, there's a pivotal journey that reshapes destinies. For instance, my maternal grandfather, a German Jew, made the voyage to Colombia at the onset of Nazism. On my paternal side, the family had to relocate several times during Colombia's turbulent "La Violencia" era. "Reality Change" pays tribute to this migratory spirit, with a focus on the Cuban Diaspora, prominent in Miami, the place I migrated to. In 2022, a record 200,000 Cubans arrived in the USA, with many risking their lives on homemade boats to reach Florida's shores. Upon arrival, they rush to find their contacts, leaving the boats ashore for a day or two before the US Coast Guard tows and dismantles them. I embarked on a mission to document and preserve these transient yet life-altering artifacts. This project honors the intertwined human stories within these boats, recognizing their significance as tangible symbols of hope amid adversity. It underscores their importance in the local community and in the broader context of global migration. The project stands as testament to the ingenuity and determination required to transform one's reality. 

Asya Aseeva, Barcelona, Spain

Renewal #1

8.3x11.7”, paper, magazine cuts, metallic threads, $150

Renewal #2

8.3x11.7”, paper, magazine cuts, metallic threads, $150

Renewal #3

8.3x11.7”, paper, magazine cuts, metallic threads, $150

Asya Aseeva was born in Moscow, Russia. She lives and works in Barcelona, Spain. A multidisciplinary artist, in her works Asya Aseeva refers to various mediums: painting and sculpture, and redefines "utilitarian" mediums such as jewelry and traditional "feminine" techniques such as embroidery and macramé.

She is a current graduated from the Institute of Contemporary Art and has exhibited her works in numerous exhibitions, both nationally and internationally. Her works have been collected by private collectors in Russia, France, and Great Britain. 

I am a multidisciplinary artist. The main theme I work with and worry about is fear and anxiety. I work with physical mediums such as painting, sculpture, installations, and textiles largely because they allow me to transform my ephemeral thoughts and feelings into a tangible object. It's not this or that object that causes the most fear, it's what can't become an object. that cannot become an object, that is, that which cannot be built into the symbolic order of reality, that undermines its its claim to totality.

Our century can be considered a century of open anxiety. We have to face the unknown, to make our way through impassable forests and lands with no maps and no guidebooks. To move into the future means to take a leap into the unknown. It will require great courage and bravery on the part of those who venture into it. Anxiety and courage, like poison and antidote, like thesis and antithesis, are present in my work, and, I hope, come to a synthesis.

In my Bon courage work, I address the ontological context of anxiety - the anxiety of nothingness. Nonexistence threatens man's ontic self-assertion relatively in the form of fate, absolutely in the form of death.

In 5631 55 396765159 711 I see anxiety as a threat to man's spiritual self-assertion relatively in the form of emptiness, absolutely in the form of meaninglessness.

The work Look at Me is an attempt to address anxiety as a threat to one's moral human self-assertion relatively in the form of guilt, absolutely in the form of condemnation