Cupid Is Dying

(Sold to a Psychiatrist at Douglas Institute in a Therapeutic Environment) Acrylic, real objects (Band-Aids) and ink on Canvas. 76 X 51 CM Cupid Is Dying presents love as a wounded body inside a society that no longer knows how to touch, listen, stay, or feel deeply. The figure stands exposed, faceless and injured, surrounded by red vines, scattered marks, and a grey, storm-like atmosphere that feels both emotional and digital. Cupid is not romanticized here; they are exhausted, overstimulated, bandaged, and bleeding from the constant pressure of disconnection. The painting reflects a world where intimacy has been replaced by performance, friendship by scrolling, romance by algorithms, and inner connection by noise. The use of real Band-Aids turns the surface into a physical site of repair, suggesting the ways people try to cover emotional wounds without truly healing them. The red forms move between petals, blood, warnings, and remnants of affection, while the chaotic white hair and swirling background evoke anxiety, dissociation, and mental overload. In this work, Cupid becomes a symbol of collective emotional burnout. Love is not dead because people stopped wanting it; love is dying because society has made it difficult to be present, vulnerable, and connected. The painting asks what happens to the heart when connection becomes fragmented, when tenderness becomes rare, and when the self is left searching for intimacy inside a world built to distract it.