With both the “Wall” and “River” scenes having equal durations (approx. 20 minutes) , they will be exhibited on two screens simultaneously and in a loop, as they are fragments of one love story referencing ancient Greek myths. The first part of the story refers to the legend of “The Maid of Corinth”, which is widely seen as the origin of painting. The woman, just like “Butades of Sicyon”, draws the contours of her soldier lover’s shadow on the wall; therefore immortalizing his image. The next part references the wait of “Penelope from Ithaca” in Homer’s “Odyssey”, in which the woman weaves a cloth, as she waits for the soldier to return. The final part is the meeting of the woman and the now-dead soldier. Herein, at the basis of this encounter lies a motif that was born of primitive mythology. According to numerous beliefs, if one sees a human whose shadow or reflection on water is absent, one sees a dead soul. The soldier eventually returns as a corpse, a body without a soul. As the soldier stands across the woman, he only resembles to have a body. However, this body neither has a shadow to fill in the drawing on the wall, nor a reflection on the water. Yet the woman can create a shadow or a reflection by wrapping the cloth she has woven around his body. This project questions the relationship between the body and its image, by focusing on shadows on the top screen (wall) and reflections on the lower screen (river) where actions produce mirror images of each other.