The Taming of the Shrew

In this painting I portray myself as Shakespeare, assembling a cast drawn from literature, religious imagery, personal memory, and contemporary life, where Hopper’s borrowed balcony opens onto a performance that slips across centuries. Wine spills as blood, wafers fall like fragments of belief, and acrobats drift overhead, while an orchestra continues to play beneath it all - allowing authority, identity, and collective memory to occupy the same shifting stage. Part of Much Ado About Nothing, a series in which each painting unfolds as a constructed performance were history, myth, and lived experience enter together and exit altered.