Wolfe von Lenkiewicz's chief artistic concern is the appropriation of language and mythology. He boldly experiments with hybrid visual combinations that straddle the murky borders of the shocking and offensive. His art historical intervention demonstrate our own complacency  of art towards famous images, namely those highly learnt visual compositions of art history. Our knowledge of them has become so much second nature that we take them for granted. It is not until they are disturbed that we realise how much confidence we place in them.

Of course this is nothing new. The history of art can be understood as compromising of changes from one mode of visual representation to another. The difference is the contemporaneity  and extremity of Lenkiewicz's subject matter. 9/11  becomes a stage for giant butterflies, Damien's Hirst's spot painting s merge with the designs of William Morris, and Adam and Eve are expelled from a field of oil dereks. The works demonstrates that no image is sacred and thus the artist is free to disseminate subject matter as they see fit. What is important is distinguishing when such combinations "work".Lenkiewicz has been described as an unbound geneticist-turned-artist, a contemporary iconoclast; allusions he no doubt relishes.