Photo portraits of Satt’s face sheathed with clay and glass marbles offer tantalizing peekaboo views. The images are engrossing for their classical form rendered by Satt’s elegantly fanned fingers, divulging and concealing his features. Beyond the sensual draw of the human frame and face, there is drama in the clay shroud dented with shiny, hard marbles: is this mysterious mask muting, or conversely, about to be peeled away? Moe Satt’s compositions, under their playful references to childish games of marbles, convey the tension of the artist shaping a new life in the Netherlands where, with his young family, he gained asylum after his Yangon incarceration in the wake of the February 2021 coup that returned Myanmar to military rule. Pushing beyond his 2008 breakout series