Such assertions are better explained with visual evidence, and there’s plenty of examples from Orge’s portfolio that express this unlikely balance between the spiritual and the raw. There’s the dagger-like piece that extends from the base of the head to the nape of the neck, ending in a long, sharpened point. With round, illuminated forms on top and a linear cross- section lower down, it’s a singular form, almost dangerous in its steep slope, and, surprisingly, broken up by a white butterfly in the middle. There’s an arm piece with a skull- like form separated by different planes that warps our orientation, held together by a third eye on the very top. And the chest piece picturing a human skull split down the middle leaves just enough bare skin to create a chasm going down the torso, with the body’s negative space as the undisputable focal point. All of these are heavy with darks and lights, creating a menacing contrast between black and white that is then softened by the ethereal, spiritualistic style that must have influenced Orge at some point in his career.