This work develops the black painterly texture originally used as the background for Hybrid Monster and Sacred Power Portrait into an independent painting. No longer serving as a supporting element, it becomes an autonomous work in its own right.

Within the drawing–collage series, the dismantled imagery of Sacred Power Portrait is positioned behind the Hybrid Monster, while the surrounding black texture forms a further layer. This surface imitates the dense, painterly effect usually produced through thick accumulations of paint. In reality, however, it is constructed from paper towels soaked in water and adhesive, then coated with black acrylic paint.

By reproducing a visual language associated with material richness and authority through fragile, everyday materials, the work operates through deliberate visual deception. It subverts the hierarchies created through material and surface in painting, particularly the prestige attached to costly materials.

As the backdrop to the dismantled Sacred Power Portrait, the black texture evokes the visual grandeur surrounding images of authority while exposing the fragile material structure beneath them. The portrait of the Hybrid Monster is placed over these layers. Rather than simply replacing the conventional subject of the authoritative portrait, the work destabilises and reconstructs the system through which authority is visually produced.

The black texture is also developed into an independent painting. By bringing a background element into the foreground, the work imitates and distorts the visual language of authority while revealing the unstable material basis on which it rests.