Running from Sin is a surreal reimagining of Renaissance grandeur, infused with Baroque drama and the haunting shadows of modern fantasy. At its center, a luminous figure astride a rearing white horse reaches skyward, his posture both defiant and desperate. Draped in flowing crimson fabric, his body radiates an almost divine purity, reminiscent of the exalted forms painted upon the Sistine Chapel ceiling.
Surrounding him, an eruption of roses and ethereal blossoms spill outward, symbolizing fleeting beauty and fragile virtue. Yet this elegance is violently interrupted by the monstrous presence above: a grotesque demon with glowing eyes and jagged teeth, descending like a corrupted angel. The tension between the rider’s upward gaze and the creature’s menacing snarl crystallizes the eternal human struggle — the pursuit of transcendence shadowed by the weight of temptation and sin.
Bathed in swirling clouds and divine light, the composition vibrates with motion, as though heaven and hell themselves are colliding in a single instant. Running from Sin becomes not just an image, but a meditation on resistance, fragility, and the perilous path of spiritual escape.
