In the person and work of Mark Ther, the well-known cliché about the inseparable connection between life and art is fulfilled in practice. His work is largely characterised by his external influence and his genuine, immediate interest in things. He is primarily concerned with feature films, gallery installations and drawing. His way of working is characterised by a certain director's approach, directing individual details and elements of meaning into a final whole. In this way, he creates plastic and (seemingly) authentic fictional worlds, within which he deals with themes related to the objects of his fascination. Whether it is a play with language, the fate of the Sudetenland and its inhabitants, queer themes or fashion. He often takes the aforementioned authenticity to a certain extreme, only to undermine it immediately so he can give us a glimpse of the backstage. A number of lines of interpretation could certainly be successfully developed in relation to Mark's vast body of work, aiming at his profound theoretical reflection. But one could equally say that the most interesting thing about Mark Ther is Mark Ther himself.