I paint hyperrealistic and cinematic portraits borrowed from advertising and cinema, for people who sense that images shape their desires before they have a chance to decide, so they can finally see that mechanism clearly.

The figures appear familiar and seductive. But they are constructed surfaces, places where desire, identity, and cultural expectation meet. The gold backgrounds reference Byzantine and Renaissance icon painting deliberately. Where devotional images once structured collective belief and directed the gaze toward the sacred, commercial images now do the same thing. They shape desire, define taste, produce emotional response. From sacred image to consumer image. From altar to advertisement.

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