Editing Robert Lenkiewicz (section)

==Other projects==
In a parallel line of inquiry, Lenkiewicz also investigated some of society's most persistent taboos in projects such as ''Jealousy'' (1977), ''Orgasm'' (1978), ''Suicide'' (1980) and ''Sexual Behaviour'' (1983). Here, Lenkiewicz often adopted an allegorical pictorial style to portray human physiology ''in extremis''. Lenkiewicz came to the conclusion that the kinds of sensations people felt when a lover abandoned them or when their cherished beliefs were threatened were identical in kind to the 'withdrawal symptoms' and anxieties experienced by addicts or alcoholics over their preferred narcotic. These projects thus became an extended study in 'addictive behaviour' (the title of his 20th, unfinished, project).

The conclusions drawn from his own observations were supported by his private library, which he viewed as a history of 'fanatical belief systems'. Lenkiewicz contended that in the absence of any good reasons for our beliefs or emotions we must always look to human physiology for an explanation of fanatical or obsessive behaviour and that it is there that we shall discover the roots of fascism – the tendency to treat another person as property.

On and off, for nearly 30 years, he worked on his masterpiece, the Riddle Mural in the Round Room at [[Port Eliot]] house, home of the Earl of St. Germans, but died before its completion. Half of the mural, in the {{convert|40|ft|m|adj=mid|-diameter}} room, shows death, destruction, insanity, unrequited love, and the apocalyptic end of the world. The other half reflects love and affection, friendships, harmony, proportion and consensus. Hidden in the work are various references to family skeletons, art history and cabalistic mysteries, hence the name – the Riddle Mural.