MAZES OF HUMANITY I

Mazes of Humanity unfolds as a collaborative meditation on the complexity of being human—layered, contradictory, and endlessly searching. At its center stands a man frozen in amazement, his posture caught between witness and participant. He does not dominate the scene; instead, he observes, absorbing the weight of what lies before him. His gaze travels across a maze populated by people moving in different directions, each body tracing its own uncertain path through the tight corridors of existence.

The maze itself is not merely architectural—it is psychological and social. Its walls echo with choices made and deferred, histories inherited, and futures imagined. Some figures walk with urgency, heads down, as if driven by survival or ambition. Others appear lost, circling familiar corners, repeating patterns learned long before they were questioned. The maze becomes a metaphor for systems we are born into: culture, language, class, belief—structures that guide and confine in equal measure.

Among these wandering figures, one person pauses to pray. This stillness is striking. While others search outward for exits, this figure turns inward, seeking meaning beyond the maze’s walls. The act of prayer introduces a quiet resistance—faith, hope, or surrender—as an alternative way of navigating humanity’s confusion. It asks whether salvation lies in escape, understanding, or acceptance.

As a collaboration, the artwork thrives on tension between perspectives. It does not offer a single truth but layers multiple voices, emotions, and interpretations into one shared space. The man in amazement mirrors the viewer, inviting us to confront our own position: are we observers, wanderers, or the one who kneels?

Mazes of Humanity ultimately refuses resolution. Instead, it honors the shared condition of being lost together—suggesting that humanity itself is a collective maze, shaped not by walls alone, but by how we choose to see, move, and believe within it.