In Own Demons, Elmer Roslin sets out to create a monumental diptych inspired by Da Vinci’s The Last Supper, but the work takes a chaotic turn—abandoning one half and embracing the raw, unsettling power of the surviving panel. This incompletion becomes part of the narrative, reflecting the breakdown of order and the distortion of sacred tradition.

Around the table, nude figures peel away their own skin, revealing not only flesh but the demons within—twisted, shadowy manifestations of guilt, shame, desire, and hidden truths. These inner beings twist and creep into the scene, threatening to consume or replace their hosts. Some figures gaze into the void; others are lost in drunken stupor or disturbing acts, all unaware of how fully their demons have surfaced.

Looming, monstrous forms establish a chilling hierarchy, suggesting both societal rot and personal downfall. Own Demons becomes not just a reinterpretation, but a confrontation—where communion turns to disillusionment, and every participant dines with their darkest self.