Tyranny looms above a prostrate female form in the figure of an ancient Roman soldier in a costume resembling an odd blend of Spartan warrior from the movie 300 and something thundering through the dust of a colosseum death match in Rome long past. She is long-limbed and appears stretched to a point of breaking. Her heavy musculature shows despite her sunken belly and sharp rib rows. Languid she hangs, half-dead limbs droop and drag down. This desperate female figure, looking like Christ being helped down from the cross, levitates unrestrained. A laser of indistinguishable origin pierces her abdomen, referencing the infant technology of laser-guided solar propulsion, as the planet Jupiter looms above, dominating the breadth of the sky from left to right. The soldier's short sword arches above her as she is pulled inexplicably upwards by unseen force towards Jupiter's violent, swirling storms, imaged with permission from NASA'S Juno mission satellite; as the newest views of the giant planet. On the steps of the Parthenon; temple behind lit with jumping, flickering orange torchlight; the re-imagined statue of Athena, stands as large as the Statue of Liberty in New York harbor, outside the temple. This Athena looks more like an ancient Celtic siren than a warrior. She has no helmet weighing on her head, tamping over her curls. She holds no spear in threatening defiance, and hides behind no shield. For hers is a world presided by peace and international trade, and she welcomes them with all seduction into Athenian port. A Norse Tawny owl takes the place of her spear, to include a nod to those who build her ships. Her owl of wisdom stands gently, and comically, at her hip, for Athena's alter-ego, when her armor is off. The eerie scene looks like some frozen moment from a play on stage, its short and wide format is evocative of a frame from a film, stretching to a width of eight feet of canvas. It is painted in a traditional, disciplined Boston Impressionism style, with glowing light from Dutch Golden Age glazing and French Impressionist strong, visible flourishes of the brush.The models are from Los Angeles, California by photographer Erik Oginski, and the reference photograph of the view of the Acropolis is from the Acropolis in Athens, by Greek travel advisor and photographer Chrisostomos Kamberis.