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In ancient times, fabulous creatures were designed to illustrate a certain narrative, a narrative that benefited “the system” in control. The creatures however, do not illustrate any particular narrative. They are a new breed of mythical creature, a species born in the 21st century where a “supermarket mentality” prevails. Unlike their predecessors, they are torn between two epochs. Concept wise they can be related to ancient times, while in form, structure and color they are surely post-modern. This might be the reason that they seem isolated and contained, each species struggles to bridge the gap between the past and the present. The pale, muted color schemes in most of the paintings work to give the viewer a sense of the sublime. However, the colors are mixed with iridescent paint that gives off an almost neon quality. The “Tinsel town” sublimity is balanced by the deliberate use of humor and Irony in most of the paintings. In one of the larger canvases a glittering burgundy figure is placed against a bluish grey background. The female figure is topped with a crown and has around eight or nine udder shaped protrusions springing out of its corpus. The plentitude of udders suggests excessiveness a trait associated with royalty, but also related to contemporary “consumerist mentality”. In another painting, what seems to be a sea mammal is crawling towards an unseen destination guided by its quirky looking antenna. The architectural elements so clearly visible in the previous work are morphed to subtly blend in with reconstructed animal and insect forms. But, in a few obvious paintings architectural elements can still be clearly recognized. This is because these paintings were the first to be created from the series. As the series developed, it broadened the ability to morph and restructure.