This collage functions as a background layer for Hybrid Monster. Focusing on patriarchy and iconoclasm, it questions, weakens and dismantles the historical, religious and political structures that have constructed and reinforced obedience as a virtue.

To do so, the artist collected portraits of Western saints, kings and queens, generals and other figures positioned at the top of patriarchal hierarchies. Within systems of law, religion, politics and aesthetics established by male-dominated societies, these figures were granted authority and sanctity, and historically recorded and commemorated. Through processes of soaking, tearing and defacing, the images are physically dismantled. Stripped of their former meaning and authority, they come to resemble old posters torn from a wall.

Reassembled through collage, the images lose the identities of their individual subjects and no longer reproduce sacred hierarchies. Faces and bodies, symbols and ornamentation remain only as fragmented, abstract patterns, revealing the residual traces of dismantled power. In this work, the process of dismantling is as significant as the final outcome. Soaking, tearing and defacing the images physically destabilises the surface of authority and weakens the mechanisms through which power is maintained as fixed or absolute. The completed collage retains the marks of this process, revealing that power was never inherently stable or permanent.

As a result, the figures that once occupied the centre of the image are pushed into the background, creating the conditions for a new subject to emerge. When the two collages—Hybrid Monster and the dismantled portraits of authority—are brought together, their relationship becomes clear. The Hybrid Monster appears in the foreground as a new subject that disrupts established hierarchies and patriarchal structures, while the once-sacred figures are displaced into the background and stripped of their authority.

The dismantled figures are no longer easily recognisable. Only the hollow title Sacred Power Portrait suggests that they were once sanctified and invested with power, paradoxically exposing the emptiness of the authority they once possessed.

This reversal becomes a recurring structure throughout the wider project: bodies that were previously objectified return to the centre, while images of authority are stripped of their power to dominate.