Alliance (YW-4) stages the fantasy of rescue. A grayscale tableau evokes the myth of Snow White: a woman lies still, adorned with flowers, while a man leans in to kiss her awake. The gesture is tender, stylized, and deeply familiar—an image repeated across fairy tales, films, and cultural memory. It is not a moment of realism, but of mythic choreography. The woman does not act—she is acted upon. The prince does not question—he performs.

The yellow star above the prince’s head marks the chromatic zone of the work—yellow as light, as promise, as the glow of idealized intervention. The numeral “4” in the bottom corner situates the piece within the Alliance constellation, signaling its position in a sequence of chosen alignments.

Beneath the figures, a decorative band and vertical white lines suggest architecture, timeline, or ritual. The kiss is not spontaneous—it is staged. A rite of passage in the fantasy of salvation. The woman’s stillness becomes symbolic: not of sleep, but of surrender to narrative.

In the context of The Triumph of Romanticism, Alliance (YW-4) reveals how poetic ideals of love and heroism have hardened into visual tropes. The rescue is no longer a gesture—it is a brand. A fantasy we choose to align with, even as it erases agency and complexity.

Alliance (YW-4) is the fantasy of awakening—where salvation arrives on cue, and the story unfolds as promised.