The exhibition’s second terracotta relief adopts a different tactile treatment, focusing on mass and depth. The work is loosely inspired by the story of the brothers Prometheus and Epimetheus, whose very names embody two opposing relationships to time: foresight and hindsight.

The rendering of the figures deliberately references the visual language of Soviet Realism—specifically the idealized images of Stakhanovites (shock workers) who embodied strength, productivity, and faith in progress. I intentionally utilize this heroic aesthetic only to strip it of its original ideological certainty. Instead of absolute faith in the future, I juxtapose foresight with subsequent error, action with consequence.