The two paintings titled ‘Peggy’ and ‘Autumn’ were painted in tandem. Although not a diptych, their theme and formal aspects converse with one another. ’Autumn’ demonstrates a naive use of perspective that recalls the medieval gothic style. The scene shows a band of pigeons gathered in a tree. A figure below holds his head, having discovered his freshly ‘painted’ car. You can practically hear the silent scream.

The two works continue a recurrent theme of imitating aspects of early religious painting using animals such as pigeons in place of their human counterparts. By employing symbols and compositional techniques associated with the divine yet portraying more profane, even mundane, aspects of life, the line between meaning and the meaninglessness is probed at. The titles nod towards Peggy Guggenheim and one of her most famous endorsements: Jackson Pollock, whose paintings mark a resemblance to the shit stained car in ‘Autumn’. This patchwork of pastiche suggests an assimilation of ancient and modern periods of art.