Distortion #2

Distortion, here, is not a flaw to be corrected — it is the condition under which we encounter the past at all. Each generation must find its own relationship to classical beauty rather than attempting perfect historical recreation, and something is always lost and gained in that translation. This piece leans into that inevitability, suggesting that misunderstanding and reinterpretation carry their own creative truth.
The antique Roman frame with its deep red velvet and original glass holds the photograph like something preserved — and yet the image itself resists preservation, insisting on the personal transformation that any genuine encounter with the past requires.