The paintings use classical figures critiquing the current political landscape, including the appropriation of classical aesthetics. The use of white men wearing togas is a commentary on this co-option, highlighting how an ideology built on elitism and exclusion is repackaged as a populist message. In canvas one the blue and red toga figures represent political polarization. The background figure is non-threatening. A dove on the verge of flight signals that hope and unity are about to disappear. Canvas two marks a shift to tumultuous times. The white toga man, now in the foreground, offers wine, symbolizing his ideology into the mainstream. The blue toga figure is now disengaged. The objects of shared culture have vanished. Canvas three represents the breakdown of democratic discourse, leading to confrontation. The white-toga figure has shed his garment, revealing his true intentions. This series serves as a warning of a classical tragedy unfolding in a modern context.