The painting «The Knight’s Dreams», with a somewhat defiant frankness in the updated tradition of Aubdrey Beardsley, enables the viewer to reflect on the many subtle facets of gender relations (embodied and non-embodied). The romance of the troubadours and the porn industry are depicted as two poles of the monad of love that does not make sense, but it is the one which assigns meaning to everything else. The spectrum from disembodied adoration to carnal pleasures seems to be representing the last chords of the anthem of the reality of incarnations, of the fusion of «objects number one». After all, the denial of objective reality is based only on sexual deprivation. It is the moment of the all-conquering nakedness of «yin» in front of the eternally armored «yang». A magical flower of beauty, causing insanity, promises a man, who is a victim of love, bliss and a new, better life. And this is almost true, but not for him, true for a new life that will come to replace the victim in the cycle of samsara for a new sacrifice. Adam’s wound from the removal of the rib will never heal ....