Dissimilation (Red Star) presents two masked wrestlers mid-match, locked in a stylized hold within the ropes of a lucha libre ring. Their masks are vivid, iconic, and deeply cultural—symbols of persona, legacy, and theatrical defiance. But within the logic of Dissimilation, the mask becomes more than performance. It becomes projection.

The wrestlers do not hide to disappear—they hide to become. Their anonymity allows for mythic elevation—not into superheroes, but into flesh-and-blood heroes of the people. The mask invites identification: we could be that figure, cheered by the crowd, adored for our defiance, elevated by our concealment. The ring becomes a stage not just for combat, but for collective longing.

Though rooted in Mexican tradition, the masked wrestler echoes a global archetype—figures who step outside national identity to embody resistance, fantasy, and mythic escape. From carnival masks to protest hoods, the visual logic is shared: anonymity as empowerment, persona as possibility.

The red star marks the work’s position within the series—a chromatic component without symbolic interpretation. What matters is the alignment: each canvas refracts the same idea from a different angle.

Dissimilation (Red Star) reveals how anonymity can enable visibility. The mask does not obscure—it amplifies. It allows the individual to transcend the self, to become a symbol of resistance, aspiration, and communal desire.