When he painted the picture, Erro did not know who Cyrus was and actually thought she was one of the Femen. He selected her, pasted her and painted her all the same. This is of more than anecdotal interest. The fact that an image so widely circulated online could end up in the middle of his painting sis indicative of two things. Firstly, that images nowadays are highly pervasive, that is to say they have enormous power to worm their way into everyday life and, secondly, that that power is independent of the support on which they exist (on screen or in print), because no image these days is confined to a single support. The phenomenon helps us to understand the way this artist works, and hi principle of accepting the images that turn up. He decided to paste and then paint the representation of this singer because she perfectly fits the imagery of sexually aggressive women that he had used in many of his paintings. The composition with Cyrus in between those two male figures, Alfre E Neuman, the mascot of MAD Magazine and Poutin, the one fictional and comic, the other very real and threatening, makes perfect sense because Erro’s paintings revels in « material ecstasy » at least as much as it is wary of it.