S. sees a portrait and he thinks it is of Sola. Unsurprisingly at this point, Sola appears at nearly every physical location S. visits. Is it truly a coincidence or is there a supernatural element to the work? Or perhaps S. is mistaken, driven insane by lust. He says the painting looks as if it may be hundreds of years old, and thus he must embrace the surreal aspect of Sola.

S. cannot separate superstition from fact from fiction. When art enters the equation, his sense of reality is further obscured. Dourst and Abrams weave this theme of man’s relationship to art into many scenes of the work.

Despite the intense circumstances around him, S. wants to know who the painting is of. S. routinely rejects his safety and that of those around him in pursuit of Sola. Osfour says her name is Samar (an Arabic name). The young girl who came into the room explains that there’s a variety of stories surrounding her background, some of which reflect FXC’s.

S. cannot differentiate between art and reality.

Jen wants to know what FXC looks like so Eric attaches a picture he took. The temptation to compare what you see in your head to what you see in reality is another one of the facts of life explored by the work.