Page 1 Page 2 Page 3 Page 4 Page 5 Page 6 Page 7 Page 8 Page 9 Page 10 Page 11 Page 12 Page 13 Page 14 Page 15 Page 16 Page 17 Page 18 Page 19 Page 20 Page 21 Page 22 Page 23 Page 24 Page 25 Page 26 Page 27 Page 28 Page 29 Page 30 Page 31 Page 32 Page 33 Page 34 Page 35 Page 36 Page 37 Page 38 Page 39 Page 40 Page 41 Page 42 Page 43 Page 44 Page 45 Page 46 Page 47 Page 48 Page 49 Page 50 Page 51 Page 52 Page 53 Page 54 Page 55 Page 56 Page 57 Page 58 Page 59 Page 60 Page 61 Page 62 Page 63 Page 64 Page 65 Page 66 Page 67 Page 68 Page 69 Page 70 Page 71 Page 72 Page 73 Page 74 Page 75 Page 76 Page 77 Page 78 Page 79 Page 80 Page 81 Page 82 Page 83 Page 84 Page 85 Page 86 Page 87 Page 88 Page 89 Page 90 Page 91 Page 92 Page 93 Page 94 Page 95 Page 96 Page 97 Page 98 Page 99 Page 100 Page 101 Page 102 Page 103 Page 104 Page 105 Page 106 Page 107 Page 108My art form is called Parleau, derived from the French “Par l'eau“, which means “through the water“. Water of course has many spiritual elements -holy water, the bap- tismal, the walking on water, Christ the living water among others. Water is a vehicle of spiritual cleansing and purification around the world. From Hinduism, Shinto and Islam to Judaism water plays an important spiritual role. Parleau images challenge you to capture a truth. Parleau basically suggests that everything changes including the definition of truth. The image of a face is at one moment kind, at another moment angry and cruel. By its very na- ture, something, which is always changing can never be an absolute. The vertical diptych “Parables“ was inspired by Botticelli's “Virgin teaching the Child to Read“ (1479/80). The figures are caricatured in simple forms in order to generalize the grace of the teacher and student and the book is not the Bible but “Les Fables de La Fontaine“. I believe Parables or Fables examine certain moral lessons that can be tau- ght in the context of circumstances without invoking God or his punishment. A second vertical diptych “Judy does the Vatican“; is inspi- red by Caravaggio's “Judy and Holofernes“ (ca. 1598). The beheading of the Assyrian king has in it a symbolic form of my views on what should become of the power and struc- ture of the Vatican. Among the other works there are “Lilies”, a search for the essence of innocence and purity of faith, and “Memorium”, a reflection on the souls senselessly lost in the battles for state and religion. 99