In this continuation of our exploration of iconic self-portraits, we moved away from the fixed grid structure and adopted a more organic approach to deconstruction and reconstruction. Instead of breaking the portraits into uniform squares, we deconstructed each image using circles of varying sizes. Each portrait was fragmented into a set number of circular sections, with each circle taken from a different portrait, then reassembled to form a new, hybrid image.

The process involves selecting circular fragments from multiple self-portraits and reapplying them in unexpected ways to reconstruct the original image. The result is a disorienting but intriguing blend of familiar features, distorted by the circular forms and varying sizes. Each reassembled portrait becomes a mosaic of overlapping identities, where the circular fragments both conceal and reveal different aspects of the original works.

This circular deconstruction allows for a more dynamic interpretation of identity-less rigid than a grid, but still abstract and disjointed. The use of circles introduces an element of fluidity and complexity, as each portrait now contains pieces from multiple sources, forming a patchwork of blended identities. The variation in circle sizes further amplifies the abstraction, creating visual tension between the fragments that form the whole.

This stage of the project continues to explore how identity, especially in the context of historical self-portraits, can be deconstructed and reshaped. Through this more fluid and fragmented approach, we push the boundaries of recognition and ask viewers to reconsider how they perceive both the individual and collective identity embedded in art.