His most identifiable pieces are his series of basketball-oriented scenes, Four Horsemen of the Apocalypse. These scenes of “amazing spectacle” interest him because of the way figures become objects of admiration. He digitally manipulated these images by erasing certain aspects of the scene in order to start a conversation revolving around their future. Art can be viewed as a universal language, similar to sports. Both are innovative ways of bringing people together. Combined with technology, the use of art and sports allows Pfeiffer to blur the line between fiction and truth.
In this piece, Pfeiffer takes a shot from the archives of the NBA. He zeros in on a minor player that’s on the outskirts of the image, then he erases the basketball, the hoop, and the rest of the players from the court. Additionally, he removes the distinguishable number on the back of the player’s jersey, by doing this he turns this player into a universal picture- an icon. The centrality of the composition gives the viewer no option but to focus on the main figure. His vertical movement gives the piece an airy feel. Surrounding the player are thousands of people and shining lights, but the lack of content gives the image a feeling of ambiguity as to why this man in jumping in the air.