Who says you can’t mess with the classics? Inspired by Botticelli’s iconic Birth of Venus, this whimsical reimagining takes a bold leap into the surreal. At first, the idea of altering such a revered masterpiece gave the artist pause—but the lure of humor and transformation was too tempting to resist. Venus, now bearing the gleaming face of a fly (painted with a luminous gold pigment containing real gold), radiates an unexpected charm. The bear trap beneath her—fitting both for its shape and her poised stance—replaces the original shell, adding a darkly playful twist.
Part of the artist’s ongoing series of “Pun Paintings,” this piece exemplifies their irreverent take on visual wordplay. These works explore the deconstruction of language through puns, blending wit with painterly technique. “I was once told, ‘It’s not what you paint, but how you paint it,’” the artist recalls. “I made it my mission to prove that both matter.”
In this series, familiar imagery is rendered strange, and the strange becomes surprisingly familiar—striking a balance between intellectual play and visual delight. With a love for the absurd and a painter’s precision, the artist invites viewers to laugh, think, and look twice.
Oil on stretched canvas
1 Artist Reviews
£5,250.15
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Who says you can’t mess with the classics? Inspired by Botticelli’s iconic Birth of Venus, this whimsical reimagining takes a bold leap into the surreal. At first, the idea of altering such a revered masterpiece gave the artist pause—but the lure of humor and transformation was too tempting to resist. Venus, now bearing the gleaming face of a fly (painted with a luminous gold pigment containing real gold), radiates an unexpected charm. The bear trap beneath her—fitting both for its shape and her poised stance—replaces the original shell, adding a darkly playful twist.
Part of the artist’s ongoing series of “Pun Paintings,” this piece exemplifies their irreverent take on visual wordplay. These works explore the deconstruction of language through puns, blending wit with painterly technique. “I was once told, ‘It’s not what you paint, but how you paint it,’” the artist recalls. “I made it my mission to prove that both matter.”
In this series, familiar imagery is rendered strange, and the strange becomes surprisingly familiar—striking a balance between intellectual play and visual delight. With a love for the absurd and a painter’s precision, the artist invites viewers to laugh, think, and look twice.
Oil on stretched canvas
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