The research paper to the cycle of the twelve linocut prints of paper with formats 80 x 122 cm is formally directed towards figurative hybridization understood as an imaginary anatomy within which human and animal fragments, as well as machines and moving artifacts, combine into a metaphorical idea of what is real. These associations lead to the occurrence of symbolic anecdotes.

I am primarily interested in the presentation of organic bodily anatomies subjected to intervention with artifacts constituted by technological products. The wheel is a formal – metaphorical icon and a fertile graphic element that evokes existential allegories around evolutionary or fading turns in human history.

The wheel revolves around the egocentric axis of man, and its rotating motion can metaphorically suggest the inconsistency and little stability inherent in human behavior, both in periods of prosperity and in unfavorable times.

The metaphor of the wheel in the Linocuts print carries with it a clearly defined idea: THE BECOMING OF THE WILL OF MAN. Breaks / intervals, rhythm, changes of direction and falls evoke symptomatic emotional and behavioral changes. The invigorating power of the wheel can never be fully understood in an unequivocal way, since it evokes not only movement back and forth (evolution – the disappearance of human reason) but also a physical force in motion that can erase and destroy others, thus turning into an instrument of torture. Forward- Evolution- Backwards - Involution.

In conclusion, The linocut Series " QUO VADIS " : Moving Archetypes , is a linographic cycl with various allegorical figurative variants thematically consistent with existential reflection on the functional relationship of man with technology and with various behavioral nuances.