Demons are mutable and live off context. This sentence, coined for ancient entities, also strikes the core of the series by the Swiss artist Anton Bruhin shown in this book: some 170 throws reckon with what the eye sees in them. They aim at the imagination — at the images into which we order visual impressions, playing with patterns latent in the viewer. Bruhin's demons betray a deep sense for the nature of suggestion. How would a present-day demon appear? Originally that free-floating spirit embodying life and cosmic energies, over the centuries it was relocated into the interior of living beings, above all humans, and associated with evil. Bruhin now seems to want to playfully rehabilitate the demon, showing it as the ideal-typical inhabitant of postmodernity: terrifying and funny at once. That it becomes recognizable as a face is hardly surprising. His pixel-beings come across as hard-drinking, capable of irony, often even good-humoured and delighting in showing off their peculiarities. The longer one jumps back and forth among them, the more wondrously their mimicry embodies states between gentle rapture, smirking glee and spooky frenzy.