“Hollow-eyed Theo hovers inside a dank cavern, a bronchial stage for this one-virus play, eventually surrounded by other pretty, faceless, fanciful looking characters, a combination of the amorphous and crystalline, intersecting in peaceful harmony. Smarmy little Theo can’t help but glow when reflecting that his compatriots are not like sentient beings participating in the higher up food chain, instead residing in a blissful state of unawareness, lacking any and all motivation other than simply to exist. Theo basks in this conception of utopia that exists only for the barely visible and universally ignored like itself, an idealized life we mere humans seem to crave.

Amplifying its performance, Theo’s delivery and cadence is interrupted by distilled facial expressions intended to “get under the viewer's skin,” held just long enough for effect. “Life is perpetual alchemy” our hero declares, “existing for its own sake without aesthetics or emotions, dramas or demands,” in other words, the perfect existence unadulterated by the workings of a brain. The sequence grounds the playfulness of the work, the artist conjuring the scenario through whimsical aesthetics, and dubious drama for all to ponder. Theo Tw’awki infiltrates the communal psyche surrounding what, at the time, was a rapidly unfolding, calamitous global condition. The concluding sequence for episode one finds our narrator drifting away peacefully, the frame reduced to a microscopic view, declaring his introductory screed to be “haunting,” leaving us with a cliffhanger to ponder, as all good mysteries do.”

— from Little Creatures: Making Sense of Sean Capone’s Theo Tw’awki
by Ivar Zeile, Director, Denver Digerati