Come back as Fire 4 is a collision between classical elegance and chaos. It uses heavy distortion to “deconstruct” a portrait, creating a sense of a human signal being lost in noise.

Freud, presents a dark and surreal vision that blends royalty, anatomy, and cosmic symbolism.

The body is both human and skeletal, blending life and death into a single form. The lower torso glows with surreal, almost radioactive hues—turquoise, red, and orange—adding to the sense of inner energy or transformation.

Behind him spread large, dark wings, giving him an angelic or fallen-angel presence. The wings are heavy and textured, dotted with small circular patterns, and they stretch outward symmetrically, framing the central figure like a gothic altarpiece. explores power, decay, and divinity.

The painting Come back as Fire 3, presents a dramatic fusion of classical portraiture and modern art. At the center sits a formally dressed figure in a composed, almost aristocratic pose – with inspiration from: Spanish painter Diego Velázquez painting of Pope Innocent X. Distortion disrupts the otherwise classical composition, creating tension, somewhere between tradition and abstraction. The figure’s expression is partially obscured, making them feel distant, anonymous, or destabilized. The background is nearly pure black, isolating the subject in a void-like space. This stark contrast intensifies the dramatic lighting and makes the colors—especially the saturated reds—feel almost electric. The richness of the frame contrasts with the corrupted interior image, reinforcing the clash between old-world grandeur and contemporary art.