Waterkeyn’s practice manifests itself by perpetually writing and rewriting narratives or plots. One could define him as a contemporary iconoclast, who abuses the archetypes and characters that have become symbols of humanity's heritage. Through a dual movement, he pays a grateful and respectful homage and simultaneously demystifies the universal library. He transfigures the icon’s constitution, not interrupting the heresy when reaching the bone. Physically, the work is composed of props, objects that can be described as bastard children of a sculptural adultery with painting. These props were never created for restaging their initial storyline. Instead, they should escape the perils of a banal or empty allegorical pitfall; therefore, the presented installation shall remain in a pre-anecdotic condition. Similar to a depot or stockroom, the objects are now waiting, suspended in the a priori moment of a theater play, but simultaneously are staging the narrative through the gaze of possible bystanders.