‘Of Divination Caves and Photochemical Prophecies’ is an ongoing series of images created with a mixture of ferric ammonium oxalate and potassium ferricyanide, and direct sunlight. These are elements from Gov’s visual and semiotic inquiry into divination caves in the Lazio region in Italy, colliding history and mythology, dream and archaeology, reality and imagination. Deconstructing environments, meddling with the essence of sunlight, and bringing together elements that may not seem related at first glance, he invites viewers to focus on subtle nuances within the pieces and to become part of an inquisitive process of divination.

'Palestrina' consists of 36 depictions of fragments from a divination cave in Praeneste (today the town of Palestrina). Each fragment is completely abstract, revealing only hints of texture, shade, and curvature, seemingly bearing no significance on its own. It is only when all the abstract pieces are placed next to one another that the cave emerges in its entirety. The result is a portal to a different time and geography: a cave mouth that invites viewers to stand before it and become part of the millennia-old history of the site.

'Segnacoli' depicts a collection of “segnacoli di tombe”, or markings of burial spots, found in a burial ground around the sanctuary of Fortuna Primigenia, the goddess of fate. It is the first known burial site in which citizens of the Roman Empire and liberated slaves were interred side by side, in equal settings and manner. The placement of the three segnacoli next to one another calls for a comparison between their attributes, evoking different worlds of association - a spread of cards, a row of tombs in a cemetery, curious toys, figures in strategic game.

'Rhinoceroses' is a collection of portraits of Lucius Verus, who was Roman Emperor alongside his adoptive brother, Marcus Aurelius. Even during his lifetime, his actual appearance was obscured by highly stylised portraits characterised by a thick beard and abundant curls. Hundreds of visual depictions and stone busts were produced based on these idealised representations, creating a chain of copies of copies that relied more on imagined ideals of beauty and power than on reality. Playing with the essence of the copy, the work also engages with Gov’s ongoing exploration of the phenomena of “rhinocerisation,” conformity, mass movements, and mob mentality. It presents an army of idealised profiles all facing the same direction, contrasted with a single figure that turns against the others.