Tarini approaches his work by intentionally disrupting the boundaries between different visual worlds, using Photoshop to create a signature striped effect. By alternating thin slices of a painted masterpiece with a photographic film still, he assembles a face that is neither fully actor nor fully painted subject. This masking process results in a fragmented, multi-layered portrait that the artist likens to the structural experiments of Picasso, where the final image becomes a unique entity born from the collision of two distinct eras.

The artist spends the majority of his process searching for the specific cinematic frame that aligns with the geometry and mood of a chosen painting. In this instance, the embrace of Gable and Leigh is layered into Hayez’s Romanticist scene with minimal editing, allowing the natural alignment of the figures to drive the narrative. The work highlights a shared language of romance across media, using the layers to explore how the textures of 19th-century oil and mid-century cinema can occupy the same space.