This bull, created after the exhibition ‘Archaic Monsters’, which was supposed to represent a form of artistic and personal emancipation for Kris Marko, depicts an energetic state of liberation from constraints: the bull charges towards the unknown, ready for any battle. It is surrounded by small, more or less defined animals reminiscent of cave drawings, perhaps symbolizing the great movement forward of a renewed consciousness.

The golden motifs on the bull’s body are rendered with greater depth than on previous paintings, as if these ‘3D’ effects were meant to affirm the ideas of power and depth, marking memories with scarifications and stigmata that imprison the shadow while the gold entraps the light.

This golden geometry begins on the left with a circle surrounded by bricks on its circumference, placed in a staggered pattern to give it a sort of acceleration, as if this sphere were rotating, charging with energy. Inside, a comma-like symbol reminiscent of the ‘Yin and Yang’ symbol, here representing birth and the relationship with the mother.

This swirling circle opens at its base, and a golden four-lane highway emerges, depicting the paths of life. These paths are obstructed by trials and difficulties in the form of golden spheres. On either side of this path of life, protruding ribs extend upwards and downwards, symbolizing fruitless choices, wrong directions.

These small lateral segments are also connected to the banderillas that wound the animal, perhaps signifying the inherent suffering of wanderings. But these segments also support, stiffen this highway of life, which without experiences or choices, even random ones, cannot substantially advance. This great experience then fades, the main road ends, giving way to entry into a more conscious existence, less flamboyant but deeper, which therefore does not need to be very visible. The line running along the bull’s neck to its head is barely visible. This line ends in a small swirling circle infinity symbolizing death and therefore entry into the absolute. This circle of death is significantly smaller than that of birth, as we die in a form of detachment and solitude, of silence and humility.

In conclusion, the painting addresses the instinct for life, eros, the power that leaps between birth and death to make humans beings of passion and enjoyment.

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