Untitled (The Tourists) / In Progress

The cycle operates as a clinical autopsy of cultural mythologies. It categorically rejects sentimental historicism and decorative aesthetics to explore the anatomy of the fall and the radical instinct for survival following the collapse of the sacred. The project is non-narrative; it is a sterile, surgical dissection of historical trauma.

Untitled (The Tourists)

Oil on canvas, 50 x 70 cm / In progress

In the series' genesis asset, (The Tourists), classical academic painting is subordinated to severe cognitive dissonance. The canvas deliberately decenters the historical dominant—the decapitated and subsequently reconstructed figure of absolutism. The surgical suture on her neck functions not as a mark of victimhood, but as a trophy of absolute domination. The figure occupies her own former palace (The Hall of Mirrors at Versailles) not as a specter, but as an autonomous predator, exuding contempt for her surroundings.

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