remembered and the forgotten, suggesting that our understanding of reality is shaped as much by absence as by presence. This perspective aligns with Haake’s exploration of the soft edges of memory—how moments linger, overlap, and dissolve, creating a continuum that defies linear time. In this continuum, the notion of a "floating world" becomes an apt metaphor. Borrowing from the Japanese concept of Ukiyo, or "pictures of the floating world," Haake reimagines this idea in a contemporary context, where memories are both elusive and omnipresent, where what is solid becomes ephemeral, and what is forgotten resurfaces with renewed clarity. Consider “Achilles Heel”—that ephemeral yet eternal glimpse of desire that might resurface in dreams as a singular, moving instant turned object of desire. This fluidity, this shift between visibility and invisibility, is what gives his work its haunting, almost spectral quality. 

Within this framework, Haake’s art becomes a meditation on perception and existence. The notion of Protopia in his work suggests that there is no singular truth—no utopia or dystopia—but rather a perpetual unfolding of truths, a constant becoming that is neither fully realised nor entirely incomplete. It is in this in-between space that Haake’s “Floating Worlds” reside, inviting the viewer to dwell in uncertainty, to find beauty and meaning not in what is fixed but in what is fluid. A lingering present, a perpetual “no-where-land,” offers gentle resistance to the frenetic pace of contemporary life. Haake's art invites us to slow down and reconsider the value of the transient, the fleeting, and the ungraspable. For all time, always.