The threat and the attempt to defend against it turned the act of painting into a constitutive space in which Leib produces a new interpretation and builds in its place a mechanism that picks up the threat, processes it, and becomes an object that evokes a pleasant and sweet feeling. An object that floods threatening symbols and converts them.

Despite the attempt to please and sweeten, the installation and the space created in its wake presents the threat and establishes it on a personal and social level. The breath of the painting and the movement of microwaves that work in sync together, nourish and empty each other. Warships floating in a circular motion inside the microwaves, revolving around themselves, illuminated by a light reminiscent of fireworks or a bomb, threatening to erupt under the heavy, overpowering breathing rhythm and evoking a strong sense that something is about to erupt from within.
 
It is not a ticking job, the threat is present and real and its effectiveness remains hidden in the gap between reality and the processing of the threat through consciousness. A threat that ultimately leaves its presence much more tangible and much more threatening.