Jon Pylypchuk's 2001 work "I have one day to live This is the loneliest moment" presents one of the artist's signature cast of small, melancholic figures rendered in acrylic on panel, layered with fabric collage, varnish, and glitter, and affixed with metal hardware. The piece captures the tragicomic emotional register that has come to define Pylypchuk's practice, where crude, child-like mark-making and humble materials carry an outsized existential weight. The combination of glitter's festive shimmer with a title of such raw despair is entirely deliberate, producing a tension that refuses to resolve neatly into either comedy or pathos. Pylypchuk, who emerged from the Winnipeg art scene and gained significant international attention through his affiliation with the Royal Art Lodge collective, built a reputation for work that excavates loneliness, vulnerability, and dark humor through deceptively simple visual language. This panel, dating to a formative period in his career, exemplifies how his figures function less as characters than as emotional proxies, standing in for states of feeling that resist more polished or distanced forms of expression. The fabric collage elements introduce a handmade, almost folk-art tactility that reinforces the sense of intimate, private confession made public. At 91.4 by 61 centimeters, the work commands presence without monumentality, occupying a scale that feels personal rather than declarative. Signed by the artist and offered without a frame, it rewards collection in a context that allows the rawness of its surface and the directness of its address to remain unmediated. For collectors drawn to work that balances wit with genuine emotional honesty, this is a compelling example from a significant moment in Pylypchuk's development.