‘The Resurrection of Romulus and Remus’, oil and acrylic on 93x93x3cm cradled wooden panel.
Two white dire wolves sit in mirrored stillness, their bodies angled toward one another. They are not ordinary wolves, but a poetic imagining of the two dire wolves recently brought into existence by Colossal Biosciences , a species once lost to prehistory, now re-entered into the realm of the living through science. In this painting, they become more than biology; they become threshold guardians between extinction and return, memory and manifestation.
From their breath rises a constellation of satin moths, gathering between them. Drawn into a loose infinity formation, the moths hover in an eternal loop suspended between sky and earth. Unlike the darkness often associated with moths, satin moths carry a luminous purity; pale, almost spectral, they evoke souls, transformation, and gentle return. Here, they become emissaries of resurrection.
Their infinite path speaks to cycles that defy finality: extinction reversed, time folded back upon itself. They echo the wolves’ existence : not as a singular event, but as part of an ongoing continuum, a rewriting of endings through human intervention. The moths become the visual language of breath made visible, of life re-entering the world in quiet, fragile form.
The symmetry of the wolves evokes duality: past and future, nature and technology, loss and return, caution and hope. They do not appear aggressive or dominant; instead, they are contemplative, almost priest-like, as if aware of the weight of their own resurrection.
This painting ultimately explores what it means to call something back from the void. Are we witnessing restoration, or reinvention? Miracle, or responsibility? In their mirrored howls, the dire wolves become a chorus , not of remembrance, but of return…
They are extinction undone, breath made visible, and the infinite held in balance.