The work Mastermind is an installation assembled from several objects juxtaposed on the wall and floor spaces. The largest objects present in the installation are two black oil barrels filled with water standing on rubber doormats. In front of them hang two Plexiglas acrylic slabs with “beware of guard dog” signs printed on their surfaces. Finally, an electric transformer placed on a black steel pedestal is positioned between the barrels powering two LED underwater lamps sealed by rubber tubes and submerged in water. In the installation Mastermind, the author examines a certain number of social phenomena evident in the city of Split as well as in other places with similar histories. Motives that constitute this work are taken from different urban and rural locations found inside or close to the mentioned city. Metal oil barrels or “beware of guard dog” signs mostly exist on private properties of illegally built cottages or junkyards aside every large shopping center. The guard dog sign implies an attack on the viewer who, in turn, ventured on some restricted place, and, at the same time, symbolizes a latent fear of invasion or robbery inscribed in the collective intelligence. Furthermore, barrels, technical rubber and LED underwater lamps for fishing, more subtly, denote this seclusion of the individuum in his suburban world where life is destined to prosper distanced from catastrophes, epidemics, and financial woes. This preparation for a “better tomorrow” becomes synonymous with isolation and present in almost every corner of Split – a city full of apartment suites and private estates. Conclusively, the work´s title is linked to its central motive, the electric transformer that metaphorically acts as a “mechanical organizer” of this fictive restricted property. In fact, in the simulated space of this installation man is absent, and different symbols are now occupying spaces of his longings. Such is the case of insecure and isolated individuals surrounded by “suburban idols” – lost in their perpetual fear similar to Jean-Paul Sartre’s “monstrous soft mass” of every-day life.