The collage series “The Temptations of St. Anthony” engages in a deliberate dialogue with the interpretation that Michel Foucault developed in his afterword to Gustave Flaubert’s “The Temptations of St. Anthony”. Foucault does not view Flaubert’s text as a religious narrative or psychological drama, but rather as a space of excess: as a theater of images, discourses, and forms of knowledge, in which mythology, theology, science, superstition, and desire encounter one another without hierarchy and without resolution.

The temptation, according to Foucault, lies not in moral transgression, but in the ceaseless availability of images and explanations. Anthony is not a sovereign ascetic, but a witness to an iconoclasm that imposes itself on his thinking. He is not tested, but overwhelmed.

This perspective shapes the works presented here. Saint Anthony appears here not as a stable icon, but as a figure in constant dissolution: prophet, old man, God, mask, fragment. His authority is repeatedly invoked, only to be painted over, cut up, blocked, or ironically subverted in the very next moment.