How are new technologies changing bodies, their representation and the very notion of corporeality? What is the power of the old medium of painting to reflect the desires and promises of technology in our time? Using the classical genres of portraiture and still life, Rūtė Merk uses oil painting to capture the archetypes of modernity, the shifting boundaries between the material and the virtual, the natural and the artificial, the concrete and the abstract in the contemporary world. Although Merk's portraits flirt with the history of painting, they undoubtedly testify to a time of tracksuit trousers and business casual suits rather than the mantle. They are representative of today's pop culture, fashion and the specific habits of the millennial generation, found in the fragments of the artist's memory, her impressions and the purposeful archaeology of digital culture. Seamless at first glance, these portraits are made up of a multitude of fragments of different bodies that have been deposited in the artist's digital image archive. Ariya's face is borrowed from a character with the same name from the popular TV series Game of Thrones, while the rest of her body is anonymous; Yomanthe is pieced together from different image sources, trying to imagine a typical employee of a successful art gallery, finally naming the painting after her best friend from school; and Yssa is a loosely interpreted portrait of a Belarusian DJ living in Berlin. These figures, hovering in abstract backgrounds, are characterised by their weightlessness - the artist herself describes this as a desire to "embody embodiment" - and suggest the redrawing of the boundaries of the subject in the face of a constantly mediated reality.