Dissimilation (White Star) presents a figure in a Guy Fawkes mask, wide-brimmed hat, and dark cloak—turned in three-quarter view, winking. The image is stylized, pop-art, and self-aware. The mask is instantly recognizable: a symbol of protest, anonymity, and digital-age resistance. But within the logic of Dissimilation, it becomes something else—a performance of refusal, curated for visibility.

The figure does not disappear into the system. They disappear into the idea. The mask is not worn to hide—it is worn to be seen differently. To become a symbol, a meme, a movement. And yet, the anonymity remains. The individual is gone. What’s left is the projection: the fantasy of resistance without identity, of rebellion without consequence.

The white 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 (White Star) reveals the final irony: that even resistance can be branded. The mask does not obscure—it performs. It allows the wearer to vanish into myth, into movement, into the curated spectacle of dissent.