D.T. constructs a network of aluminum sheets on which he supports images of Aboriginal and cannibalized ancient Greek sculptures. The composition of these seemingly unrelated cultural sites began by observing the similarities between the carvings/grooves on the bodies of the Aboriginals and the corresponding cracks on the surfaces of the ancient Greek sculptures caused by religious conflicts and invasions of antiquity. The carvings, the grooves are once again interpreted as traces of a pain to which we no longer have access. The ritual practices that caused them have now been replaced by microsurgical cosmetics. These marks now appear as monuments of a past relationship between vulnerability and resilience. As they resonate on the body of the other, they invite us to imagine rites of passage, transition, inclusion, empowerment, and liberation. Tampakis' work utilizes engraving on metal as a material translation of corporeal carving, composing a future ode to ritualistic pain. Text by Kostis Stafylakis