A central theme in Brian Jungen’s work is intercultural engagement. As the son of a Dunne-za mother and a Swiss father, he uniquely bridges the cultural heritage of two worlds and uses this tension as the starting point for his artistic practice. Jungen first gained international attention with his series ‘Prototypes for New Understanding’, in which he created masks from cut-up Nike trainers; these are formally reminiscent of traditional ritual objects of North American Indigenous peoples, whilst at the same time reflecting globalised consumer culture. This tension is also strikingly condensed in the work ‘Untitled’, an animal hide interwoven with fine strips of gold leaf. The raw, organic materiality of the animal hide alludes to Indigenous traditions, to hunting, ritual and a close relationship with nature. This contrasts with the gold leaf, which has been associated with sacredness, wealth and transcendence in Western art history for centuries. The interplay of these elements gives rise to a multi-layered dialogue between Indigenous and Western culture, between natural material and cultural elevation. At the same time, the work evokes associations with the ‘Golden Fleece’ and, by extension, with a central myth of ancient Europe. Here, Jungen brings together different cultural visual worlds and raises questions about value, appropriation and identity. His works thus constantly navigate the tension between tradition and modernity, spirituality and consumerism, cultural belonging and global interdependence.