In the desolate urban landscape of the 10th E State, the painting titled "Vax Van" evokes a stark transformation from the past to a dystopian present. Gone are the days when the familiar tunes of an ice cream van, with its promise of sweet, frosty delights, would fill the air, a beloved ritual in the community's daily life. In its place, the vaccine van emerges, a mobile harbinger of health in a world where such joy is now tinged with the melancholy of nostalgia.

This van, adorned with syringe symbols and the incongruously jovial faces of faux orators, brings not treats, but a promise of protection—its true nature as ambiguous as the icy glitch that seems to cascade down the observer's window or into the very fabric of the 10th E State itself. This digital or organic disturbance blurs the lines between the observer and the observed, introducing a surreal layer to the landscape of decay.

This scene captures the existential struggle of the individual and the collective within the mechanisms of power, the ambiguous line between protecting life and administering it. The question lingers, heavy and unanswered: what is the true nature of this vaccination? Liberation from disease, or a subtle inoculation of authority? The artwork leaves us in a liminal space, reflecting on the power dynamics inherent in the act of healing and the societal structures that dictate it.