Alliance (BL-1) opens the constellation with a gesture of stylized intimacy. A black-and-white kiss—cinematic, suspended, and high in contrast—anchors the composition. It is not a moment of realism, but of projection: the kind of kiss remembered more than lived, curated more than felt. The figures are anonymous, yet mythic. They belong to no story, yet echo every story we’ve been taught to want.

The blue star in the upper corner marks the work’s chromatic zone, tying it to the symbolic palette found in every national flag. Blue here is not just a color—it’s a mood. It evokes longing, loyalty, and the cool hue of idealized memory. The numeral “1” in the bottom corner signals both sequence and initiation: the first in a constellation of chosen alignments.

Beneath the figures, a faint grid introduces quiet tension. Romance staged within structure. Passion framed by system. It evokes the way desire, like nationalism, is often diagrammed—ritualized, idealized, and performed.

In the context of The Triumph of Romanticism, Alliance (BL-1) proposes that Romantic ideals—once poetic and personal—have become visual currencies. The kiss is no longer private. It is emblematic. A shared image across flags, films, and feeds. It is alliance not of bodies, but of symbols.

Alliance (BL-1) is not a love story. It is a declaration. A visual pledge to the fantasy we choose to believe in.