As a contemporary artist, I respond to the times I live in. At the same time, I am deeply rooted in art history, drawn to past masters, especially the Baroque era—a time when painting thrived in its complexity, theatricality, and precision. As a Baroque Anarchist artist, I am always searching for ways to merge tradition with innovation, bringing AI, bioengineering, and the latest advancements in space exploration into conversation with the legacy of historical painting. The first 14 pieces in this series were created in symbiosis with artificial intelligence, developed during the first year of AI’s public launch, making it a direct artistic response to the technological shifts of our time. I used AI-generated sketches—produced by AI specifically designed for artists—as the foundation for my classical oil-on-canvas paintings. Some works in the series are dedicated to artists I deeply admire, innovators of their time—Tamara de Lempicka, Wassily Kandinsky, Jean Roussel, Salvador Dalí. The botanical theme runs through the work as an ultimate allegory of evolution and progress—a conversation between nature and human intervention. The colour palette—deep forest green and turquoise with splashes of bright, warm orange and pastel shades of violet and purple—is carefully chosen not only for its aesthetic harmony but also for its psychological impact. Psychologically, green evokes feelings of stability, balance, and cooperation, fostering a sense of security and fairness. Turquoise reduces stress and is associated with happiness—chosen, for instance, by Tiffany & Co. The bright orange accents inject energy, confidence, and enthusiasm, stimulating dynamic interactions without overwhelming the composition. The second part of this body of work also reflects on the connection between art and science, but it is more grounded in realism, created before the public launch of AI and my reflections on it. Yet, despite its engagement with cutting-edge science, this series carries a more classical, museum-like quality. For example, The Entire Cosmos in Me was inspired by the launch of SpaceX—translating ideas of vastness and exploration into something deeply personal. The garden, in my work, is a constant metaphor: it can stand for my inner world, my thoughts, my body, or even the structures of business and career—things that are cultivated, shaped, and grown over time. Me vs Me is about leadership, about the internal battle, and about the idea that the first step toward success is overcoming fear. The third series of artwoks is Macrocosm. Through the works in this series, I present a compelling exploration of the sacred and mystical aspects of human existence. By amplifying everyday objects, I have given them new life, imbuing them with symbolism and spiritual significance. The first work, Genesis, depicts an ordinary egg, grotesquely enlarged to represent the creation of life and the beginning of the earthly world. Shell, another work in the series, refers to the sacred symbol of sexuality and sensuality. The shell corresponds to the idea of femininity and female sexuality, representing fertility and conception. In many cultures, the birth of life is connected to the ocean, where water bears the fruits of existence. With this series, I expand my artistic language, exploring the intersection of mythology, spirituality, and the tangible world. The symbols I use—stone, shell, pelican—transcend their material forms, offering reflections on creation, transformation, and the cyclical nature of life. With each body of work, I push history forward, taking everything I admire about painting—its depth, its illusion, its symbolism—and breaking it open to let new meanings emerge. I do not see tradition as something to be preserved in a glass case. I see it as something to be tested, transformed, and reborn.