At the core of the show are two large, multi-work series: “Traité d’Anatomie Humaine,” (2013-2015), and “Polyptych - The Last Supper,” (2015). For “Traité d’Anatomie Humaine,” de Chaunac takes inspiration from a 1911 medical text of the same name. In response to the text’s description of the formation of human embryos, he has painted a group of fantastical, semi-human creatures, directly above the yellowed pages of the original book. Drawn in energetic brushstrokes and bright, vivid colors, the creatures seem to leap out from the lettering underneath. “Polyptych — The Last Supper,” in contrast, is painted nearly entirely in thick, black brushstrokes, with a single spot of red in the central panel. At once referencing The Last Supper and a group of mummified victims of an 1833 Mexican Cholera epidemic, “Polyptych — The Last Supper” offers a more somber meditation on the lingering traumas of historical catastrophes. These two bodies of work together seem to echo the show's title, "A Dance with Life and Death"; "Traité d'Anatomie Humaine" offers a celebration of life and the creative force, while "Polyptych — The Last Supper" memorializes the dead.