Two paintings from the broader cycle, Christ Carrying the Cross, have an immediate connection with the Church of St. Barbara. In this perfectly descriptive painting, the artist works with specific locations and composed human extras. The result is a photographic montage composed of a combination of shots at the selected location. In this case, the preparation of the pictorial starting point took place in the gallery of the St. Barbara Church in Kutná Hora and other visual artists were involved as well. Two of them also exhibit their works in THE POINTS OF REFLECTION project in different locations (Christ Carrying the Cross II, from the right: Vladimír Véla, Lubomír Typlt, Ivan Pinkava, Ondřej Anděra / Sifon, etc.). Christ Carrying the Cross IV is a detail and a variation of the previous work (from the right: Lubomír Typlt, Ivan Pinkava, Ondřej Anděra / Sifon). The painting thus returns to the very place where its template was born some time ago. Through this act of installation, a staging of the intersection between cyclical and linear time takes place.

The small sculpture draws inspiration from traditional Chinese equestrian sculptures. The key difference is that the role of the rider is taken on by a young woman. The work's stylisation reflects Asian formalist foundations. Rather than a generic character, the female figure serves as an alter ego of the artist, embodying her inner contradictions and lived experience. The whiteness allows the work to merge with the ever-changing luminosity of day and night. And yet, the horse does not gallop. It stands still, and so does its rider. What gallops wildly here is the elusive time itself, flowing around us.