These portraits, the noble men and women, the elite and the beautiful people of the Renaissance era who are still ostentatious after centuries, are removed from their universe so that their beauty and glory glow excessively in a timeless and spaceless setting with an emphasized individuality and eccentricity. This is an immediate exposition of splendor and majesty. The portraits are not crumpled, cracked and distorted because of the anger and fear one might feel for living through bitter times and breathing poisoned air, rather they are created determinedly with full control over the wrath and anger modernism brings about. The amassed resentment generated by modernism’s anxiety has resulted in an obsessive preservation of the beauty, dignity and glory of the portraits in a new arrangement and a ferocious but satirical and ironic tone. The artist has fooled about the serenity, greatness and dignity of the portraits, yet underlined their grandeur and individuality. He has defamiliarized their individuality and majesty yet favored them and even endorsed their splendor.

This is not an aesthetic language only to seek ugliness or to create it. By deforming beauty outwardly, the artist has achieved a total new aesthetics of his own with roots in the liberation, integrity and conduct of modernism. With his controlled wrath and the amassed resentment resulted from his social and personal life, in addition to his understanding of the liberty and magnanimity that modernism generates, the artist has used his perceptive outlook, opinion, eminence and individuality as to discover his own individuality and egotism and cry it out in a sardonic whisper at the zenith of perfection. He has majestically whispered his individuality.