In Aisha Christinson’s paintings notable works from art history are ‘re-performed’ as if in an act of cultural karaoke. The paintings hint at notions of authenticity and authorship in an image inundated world. From the likes of Diego Velazquez, Giorgione, Nicolas Poussin, Henri Pierre Picou and the pastoral landscapes of Claude Lorrain. Christinson focuses on certain details within iconic works that compel her, like the tiger playfully gnawing a foot in Odalisque Study (2017), which is taken from Picou’s painting Odalisque (1858). Christinson embellishs, overlays and repeats the motifs which go on to form rhythmic, and at times disorientating compositions. The original referenced works are mediated through paint and become naïve and exaggerated translations, painted in deliberately saturated harmonious or even discordant colour schemes, they are transformed and distorted like the voice by a karaoke microphone.