patteef

patteef Patteef mixes fine arts with pop culture. All collages are made under 5 minutes, on an iPhone.

All I did was use part of a picture that popped up in my feed. (Model ) But this take on Adam & Eve might result in :
09/07/2025

All I did was use part of a picture that popped up in my feed. (Model ) But this take on Adam & Eve might result in :

Rerun for a classicThe AccoladeEdmund LeightonThe Accolade is a painting by British artist Edmund Leighton. It is one of...
08/07/2025

Rerun for a classic

The Accolade
Edmund Leighton

The Accolade is a painting by British artist Edmund Leighton. It is one of many paintings produced by Leighton in the 1900s on the subject of chivalry, with others including God Speed and The Dedication It has been described as among Leighton’s best-known works and one of the most recognizable paintings of the period.

There are many stories considering the origin of and inspiration for the painting, although none of them are confirmed. Historians agree that the painting depicts an accolade, a ceremony to confer knighthood. Such ceremonies took many forms, including the tapping of the flat side of a sword on the shoulders of a candidate or an embrace about the neck. In the first example, the “knight-elect” kneels in front of the monarch on a knighting-stool. The monarch lays the side of the sword’s blade onto the accolade’s right shoulder. The monarch then raises the sword gently just up over the apprentice’s head and places it on his left shoulder. The newly appointed knight arises, and the administrator presents him with the insignia of their knightly order. In the painting, the ceremony is performed by a young queen, the knight bowed before her feet in a position of submission and fealty. An audience is gathered on the Queen’s left, serving as witnesses to the ceremony. The painting does not depict the presence of a king. Based on the coat of arms and the flag, the nationality of the people in the picture seems to be Albanian.

Model

as VenusAry Scheffer, who once moved at the heart of Parisian artistic life, painted not only portraits of the French ...
07/07/2025

as Venus

Ary Scheffer, who once moved at the heart of Parisian artistic life, painted not only portraits of the French royal family and other prominent French figures, but also historical pieces. His painting The Heavenly and Earthly Love is one such history painting, with a classical theme. The two women, both Venus, represent two kinds of love. The heavenly Venus, who like an angel does not belong to the material world, and the second Venus, who is earthly and involved in the creation of new life. In art, these two forms of love are also associated with contemplative love and active love.

Saint SebastianVannucci Pietro Listed in an inventory of c.1633 as a work by Perugino, this panel is in fact a replica w...
27/06/2025

Saint Sebastian
Vannucci Pietro

Listed in an inventory of c.1633 as a work by Perugino, this panel is in fact a replica with variations of the famous Saint Sebastian of the collection of Sciarra Colonna – today in the Louvre – which Perugino executed during the last quarter of the 15th century. The work in question is characterised by a balanced compositional scheme dominated by the portrait of the Roman soldier, who is bound to a column. A broad landscape typical of Vannucci’s oeuvre opens up behind the architectural structure. As is narrated in the Passio Sancti Sebastiani, after being stripped naked Sebastian was riddled with numerous arrows by his fellow soldiers: believing him to be dead, they abandoned his body near the Cloaca Maxima, where the matron Irene found him and healed his wounds.

What do we worship now?
Where does devotion live—in churches, in pain, or in the way someone touches your chest and doesn’t let go?

Model

This is The Sacrifice of Isaac, but it doesn’t look like Sunday school. No altar, no lamb—just stone pavement, soft clot...
26/06/2025

This is The Sacrifice of Isaac, but it doesn’t look like Sunday school. No altar, no lamb—just stone pavement, soft clothes, and a still body. The blade is still there. The gesture remains. But the energy has shifted.

Isaac isn’t begging—he’s already let go.
Sacrifice in a new form: casual, urban, numbed.
The myth stays, but the stakes feel different.

This is not made with AI, it is my creative process just as it was 2020. I just used AI to animate the collage.

What happens when a 17th-century monk trades his robe for tattoos and streetwear? The original painting shows quiet fait...
25/06/2025

What happens when a 17th-century monk trades his robe for tattoos and streetwear? The original painting shows quiet faith: a man holding roses, keys at his side, cloaked in humility. In the collage, his face now sits on a body built to be seen—inked, sculpted, armored in muscle and chain.

It’s not about irony. It’s about merging two forms of presence.
Devotion doesn’t always look soft. Strength doesn’t cancel reflection. This isn’t a before-and-after. It’s a both-at-once.

I build these collages to mess with expectations. To see what sticks when centuries collide.
Because even in silence, there’s force.
And even in a flex, there can be grace.

This is not made by AI, I used AI as a tool to animate the collage.

Model

Miss Beatrice TownsendJohn Singer SargentShe was once the picture of 1882 elegance—Miss Beatrice Townsend, painted by Jo...
21/06/2025

Miss Beatrice Townsend
John Singer Sargent

She was once the picture of 1882 elegance—Miss Beatrice Townsend, painted by John Singer Sargent with every fold of fabric whispering wealth and decorum. But that was before she got a new face. One that tells a different story—inked, pierced, unbothered.

Now, the pearls sit a little differently. The Yorkie looks slightly alarmed. And Beatrice? She doesn’t blink.

This isn’t just a remix—it’s a quiet revolt in oil and pixels. A collision between two women who never could’ve met, but now share the same canvas. One groomed for portraiture. The other carved her own narrative into her skin.

Call it time travel. Or just better casting.

In a world where paintings once told you who mattered, this one asks: what happens when the frame doesn’t fit anymore?

The answer? You keep the dog. You change the rest.

Model .ide

Model
21/06/2025

Model

Jackie O, but rewritten.Pearls meet ink. Power meets presence.The body speaks louder now.This isn’t a contrast—it’s a re...
18/06/2025

Jackie O, but rewritten.
Pearls meet ink. Power meets presence.
The body speaks louder now.

This isn’t a contrast—it’s a remix.
Legacy in denim. Elegance with sleeves.
A new kind of icon.

Model

Tattooed skin. Chrome orange machine. A white horse crashing in from another century.She rides, unbothered, untamed.Past...
17/06/2025

Tattooed skin. Chrome orange machine. A white horse crashing in from another century.
She rides, unbothered, untamed.
Past and present welded together—paint and gasoline, beauty and grit.

This is where the classical breaks into the now.
Where myth gets loud.

Model

Venus Disarming CupidAnthonie Blocklandt van MontfoortVenus takes Cupid’s arrows—and for a second, love has no weapons.P...
17/06/2025

Venus Disarming Cupid
Anthonie Blocklandt van Montfoort

Venus takes Cupid’s arrows—and for a second, love has no weapons.

Painted in the late 1500s by Anthonie Blocklandt van Montfoort, this isn’t just myth—it’s tension. Power. A moment when desire gets checked, but never silenced.

In my collages, I reimagine scenes like this with tattooed skin and sharp edges. Classical beauty meets body art. Myth becomes muscle memory.

Venus isn’t just a goddess—she’s inked, alive, and unapologetic. Cupid isn’t just love—he’s fire, vulnerability, chaos with wings.
This isn’t nostalgia. It’s transformation.

Because every body carries myth. Every scar has a story. Every love has teeth.

Model .exe

Angelica and MedoroPietro BenvenutiTwo lovers, a blade, and a tree—proof that passion leaves marks.Angelica and Medoro, ...
16/06/2025

Angelica and Medoro
Pietro Benvenuti

Two lovers, a blade, and a tree—proof that passion leaves marks.
Angelica and Medoro, from Orlando Furioso, carving their names into bark like it’s forever.
Classic art turned tattoo memory. Romance meets rebellion.

This scene was painted around 1800 by Pietro Benvenuti, a neoclassical powerhouse who studied the old masters in Rome and vibed with artists like Schick and Thorvaldsen. He captured timeless love with brushstrokes—I’m remixing it with ink and scissors.

My collages fuse tattooed bodies with classical moments like this. Because love, pain, beauty, and mythology don’t belong to one era. They live in skin. They echo in canvas. They evolve.

Original frame, eternal story—reborn.

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Want me to tweak the tone (more poetic, more edgy, more romantic)? Just say the word.

Model

Adres

Antwerp

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