Proof of Power (2025) is a series about the new forms of power — power that operates through performance, image, and reach more than through office or law. The Idol is the series' ultimate articulation: a single portrait of the puppeteer behind the spectacle, the figure who has perfected power-as-performance in our moment. An idol demands a vantage. Approach from the correct angle and the figure assembles. Move and it dissolves. What reads as authority is, from any other angle, 2,131 panels of evidence floating in dark space. Idols are like that. They are built — and they are only visible from where they permit themselves to be seen. The substrate of the figure is What Remains, a 55-day daily project: 55 works made in real time as events from the Iran-US conflict unfolded, each piece a record of a single day. Composed in p5.js with custom-trained models in the loop — generative compositions tuned by hand, day after day. The titles carry their own chronicle: No War with Iran, The Persia, The Generals, The Council, The Parliament, The Hole in the Street, She Takes His Hand, What Remains. Together they form a record of what the puppeteer's performance produced. In The Idol that record becomes the body of the figure himself. Every visible point of the portrait is a real What Remains piece, placed in space at a random depth, modulated only by the brightness it must contribute to the surface. No color correction. No compositing trick. Only assembly. Idols are built from what their worshippers bring them. This one is built from what its subject has caused. Drag and move around using the mousse. Press the spacebar to re-centre. Click any panel to surface the original work and its title.