The Abduction (2026), oil on wooden panel, investigates states of visual instability and simultaneity, constructed from fragments that collide in a dreamlike scene.
The work begins with a classical sculpture found in a London museum, captured through photogrammetry and modelled digitally. In it, several bodies entangle in a composition that recalls the classical iconography of mythological abduction. This sculptural citation intersects with toys, Asian sculptures and fragments of the London urban fabric, blurred into the atmosphere of the image. The result is a confused yet active scene, suspended in a greenish, almost swamp-like light, where the defocus destabilises the legibility of the bodies and the hierarchy between the parts.
The title operates on several registers. It names the explicit seizure depicted in the mythological scene, but also the silent abductions that sustain the museum as an apparatus: the extraction of objects, the assimilation of a foreign canon, the historical whitewashing of colonial heritage. _The Abduction_ moves between the venerated and the banal, between museum statuary and consumer objects, registering the condition of a globalised world in which every reference coexists at once and with the same intensity, regardless of its origin.
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