Trampling Over the Classics is my conversation with art history, a push and pull between reverence and irreverence. These paintings borrow the emotional weight, compositional power, and quiet grandeur of Renaissance and classical art, only to dismantle and reimagine them through a contemporary lens.
I’m fascinated by the tension between what we inherit and what we create anew. The process often begins with a nod to the structure and sensibility of the Old Masters, fragments of figures, the rhythm of drapery, or the gravity of a timeless pose. From there, the work becomes an act of liberation: layers are scraped away, forms are fractured, and colour surges in where history once demanded restraint. This series isn’t about rejecting tradition, it’s about keeping it alive by allowing it to change. By breaking apart the familiar, I aim to uncover something raw, something that speaks to the present while still carrying the bones of the past. In Trampling Over the Classics, heritage and innovation meet on equal footing. It’s a space where the weight of history is acknowledged, but never allowed to stand still.
I’m fascinated by the tension between what we inherit and what we create anew. The process often begins with a nod to the structure and sensibility of the Old Masters, fragments of figures, the rhythm of drapery, or the gravity of a timeless pose. From there, the work becomes an act of liberation: layers are scraped away, forms are fractured, and colour surges in where history once demanded restraint. This series isn’t about rejecting tradition, it’s about keeping it alive by allowing it to change. By breaking apart the familiar, I aim to uncover something raw, something that speaks to the present while still carrying the bones of the past. In Trampling Over the Classics, heritage and innovation meet on equal footing. It’s a space where the weight of history is acknowledged, but never allowed to stand still.
