Both Ersin Eken and Leon Stoffelen turn a simultaneously passionate and mechanical gaze to the image-inary. We see figures posing in blue hues, (not) acting in anticipation of being framed, inhabiting a sterile cycle in which life anticipates being pictured and then is. Porn, steel tropical plants, fabric softener packaging and corporate room dividers make up a decor of fleeting realities and erotic dissociation. The idea of origin runs throughout, in the form of sperm, second hand experiences, steel drippings, and in the unnatural concoction Mewtwo. Dissociation and objectification are then proposed in relation to sexuality and how it nurtures escapism and a kind of homeopathic dilution of connection.