Anne de Vries (b. 1977, The Hague) builds complex, hybrid mythologies through sculpture, installation, and media-based practice. His works often combine fragments of pop culture, subcultural references, and invented characters into sprawling, interwoven narratives that blur the line between fantasy and reality. By doing so, de Vries creates allegories for the digital age—where meaning is fluid, identities are unstable, and stories circulate as endlessly mutating loops. In Vapula’s Obsession 78% (2025), a grotesque winged demon drips with sticky, chocolate-like matter, embodying temptation and excess. Opposite him stands Little Herald (2025), a knightly figure perched on oversized claws—stolen, perhaps, from Vapula himself. Holding a delicate flower or a heart-shaped balloon, Little Herald mocks his monstrous adversary, signaling innocence, irony, and resistance in the face of domination. These characters belong to a broader pantheon of de Vries’ making, where archetypes of good and evil, hero and villain, dissolve into playful yet unsettling exchanges. Through such myth-making, de Vries exposes the mechanisms of storytelling itself. His characters are never stable; they parody power while embodying vulnerability, turning narrative into a battleground between sincerity and satire. The works ask us to consider not only what these figures are, but also how meaning itself is generated, distorted, and performed in the age of images