Via a canonically academic form and painting technique, he places representations of dinosaur fossils alongside those of cables, scaled in a way that diminishes their original values and pushes them into abstraction. 

Arguably yet another canon technique serving its purpose, respecting painting as a medium. A medium that has historically been used to portray the greatness and beauty of the human race, the victories, the families, the tragedies, the hunts inside groves.

LUCA changes the subjects’ context, presenting an underlying question of human existence and its relevancy now, as we head into a technological future where “We can’t help but ask what should be the conversation of art in our generation, how can we contribute to the oldest art form, has it all been said?”

The idea of the fossil presses us face to face with the fact that a species was here walking and hunting just like us, until it got extinct within a flash. 

As species we may consciously pretend to be gods, and that has led us to this moment, but it is no secret that the dystopian aspect of reality is getting harder and harder to ignore each day. Technology is no more than lighting in a stone, Cables are no more than snakes feeding off of each other and so on.