Inspired by Da Vinci's "Vitruvian Man", this piece explores the balance between classical form and optical motion. I wanted to create a moiré that echoed the human silhouette while embracing a more classical color palette. In many ways, I tried to imagine what a moiré might have looked like had Da Vinci painted it himself– the tones he might have chosen, the symmetry, the precision. At the time, it was the largest painting I had ever completed, and naming it "VITRUVIUS" felt like a nod to my Italian heritage. I rarely title my works before creating them, but this piece, along with "VESUVIUS", was an exception.