Works, primarily built around an edgy Surrealist vocabulary with its associated shifts and substitutions of images and visual registers, are deeply concerned with the ethical dimensions of contemporary life. My vehicle of choice to stage the dilemmas that face Modern man is the fable, a genre that has had the capability to marry topicality with a populist and didactic aspect that can address a wider audience. And allegorical imagination is tied to an urgent moral imperative, and utilizes all the linguistic means that the genre puts at his disposal in order to uncover the iniquities that lie hidden beneath the codes that govern social life. The works resemble parables in their structural and linguistic organization, drawing upon the minutiae of everyday life which are often combined and recombined in surprising and unusual ways in order for it to be able to deliver its‘message’ in as succinct and unmistakable a form as possible. Fables, however, by their nature are not wordy; requiring a rather stringent economy of means for it to be effective, and by that same token is not really fertile territory for ‘interpretation’.