Desiree Dolron’s aesthetic is intricately linked to the Flemish school of primitive portrait painters such as Petrus Christus, Rogier van der Weyden and the interior Danish painter Vilhelm Hammershoi. Dolron does not try to emulate their work but rather adapts the aesthetic to her 21st century vision, which is as complex in construction as the paintings themselves. Each piece of work is built using state-of-the-art digital technology, with the final results belying their true complexity. Like a painter, Dolron moves and mixes the objects and people who act within the tableaux by adding and changing elements within the frame: changing elements of their appearance with those of other people she has found to be more in keeping with her private dream of the final image. As with the Flemish painters she most admires, the work is covered again and again with the final images printed at nearly 6 feet high.