Following in the fantastic-like footsteps of Heronymus Bosch, Mivekannin questions the invisible and the hidden. In a process of quotation that characterises his current research, Mivekannin here cites art history quoting history. Finding it difficult to identify with these stories, which are the very foundations of Western civilisation, Mivekannin uses painting as a repairing act and a means to reappropriate the dominant narratives by introducing the forms of his self-portrait. In this particular painting Mivekannin becomes Balthazar, the African King among the three Biblical Magi. The support of the work, old sheets buried before being soaked in elixir baths giving them their so particular colour and then sewn together to form a canvas embodies this process of story making.