This work was originally part of the “Eye go black” exhibition in 2000, where the photograph was seen first, then the missile and lipsticks and finally a table with ten blenders containing living goldfish. The option of blending goldfish stole the thunder from the rest of the exhibition. Very few people today immediately associate the violent and central large photograph of a blindfolded man with military trousers around his ankles with “the goldfish work”.

The work is ultimately about a person’s journey in the world in which Evaristti believes there are three types of person: The Sadist, the Voyeur and the Moralist. If a person is a sadist he or she will press the button on the blender because he or she is able to do so. Is the person a voyeur, he/she excitedly observes whether others will press the button. Is the person a moralist he/she becomes infuriated by the fact that there is an option to blend fish. Moreover, the work does not have a single, unambiguous interpretation, but it is possible to seek out the many elements that point to the differences and similarity between the masculine and the feminine. Masculine symbols such as Evaristti himself with military trousers (around his ankles) and a missile are overwritten by feminine lipstick and the kitchen (traditionally the woman’s domain) blenders that become murder weapons when living goldfish are placed in them. Goethe's poem, The Fisherman, lay in a cupboard and served on several levels as inspiration for the installation.

From the fish in risk of being pulled out of the safe water, to the meeting with the fatally seductive mermaid – and the longing for love. Goethe’s poem, The Fisherman, lay in a cupboard and served on several levels as inspiration for installation. From the fish in risk of being pulled out of the safe water, to the meeting with the fatally seductive mermaid – and the longing for love.

This version of Helene & El Pescador contains a mummified goldfish suspended in acrylic.