For a series of works, ‘Mutilated Myth’, the artist references documentary photographs of the Lviv Pogrom of 1941. He then transforms the images into large-scale charcoal drawings. At first site, these hyperbolised and shaded compositions only deepen the gap between the facts of the past and the attempts to interpret them 80 years later. Yet, the images transferred from photographs to drawings remain pretty eloquent, recognisable and authentic: naked women on city streets, kneeling male figures, unnatural light, the atmosphere of phantasm and horror.