The subjects of ‘Sittings/Sightings’ were drawn from three principal sources: Some are friends, painted from life; others spring from works by 15th and 16th century Italian masters; and still others hail from the upper echelons of Instagram in uencers. The work here revels in the confluence between the classical tradition and our modern, digital modes of portraying style and in uence. The paintings blend the intimacy of personal portraits with a mannered theatricality. Both historically and contemporarily, this marks a depiction of great beauty and power. Through the pictorial language and techniques of the Renaissance, the artist approaches his subjects with both archness and reverence: A delight in depicting the human form shares the canvas with an awareness of the absurdity of projecting out likenesses into the world.