Fed and grown out of correspondences, interactions, and exchanges – on the one side with Antiquity collections at the British Museum and with Greek mythology and Classical texts on the other – the resulting series are at once a homage to the continuing physical and textual presence of these historical relics, and a re-evaluation of our relationship with the past. Although this experience is by nature fragmented and subjective, the artist strives, through his art, to achieve a unified whole. Working from the Canon, the artist discovers that all these entities from antiquity have already been split into many different renditions all the way throughout history up to the present.

However, in Antiquity, the ancient Gods and creatures, reincarnated to create new chimaeras, come to life in an updated fashion that, if fragmented, makes them whole again. In The Dying Pythia and The Apotheosis of the Hero, these ancient presences find two different realms for them to reveal themselves to us: the world of antiquity and the modern world, respectively. We must not see in this Teophany of Gods and Epiphany of Heroes, in its use of classical symbolism, another example of allegory but a new reality where these visions materialise once again every time the artist creates the stage for them to come to life, now in a total, coherent and true fashion, fascinatingly relevant for the contemporary times.