In another painting, Clytemnestra & Iphigenia (2015), the mother-daughter duo stands together on seafront cliffs prior to the poor girl’s death, their wriggling bodies clothed in circus-like jumpsuits. A skull lurking in the left-hand corner is the only indicator of Iphigenia’s imminent death in what is otherwise a presumably happy moment shared between mother and child. Agamemnon’s other doomed children, Orestes and Electra, can be found elsewhere in The Suffering of Orestes (2015) and The Sorrows of Electra (2015), falling victim to their own sad fates.
Another martyr of ancient mythology, Prometheus, makes an appearance. Prometheus Chained (2014) captures the Titan’s final moments after he was chained to a rock by Zeus and left to have his liver pecked out by an eagle. According to legend, Prometheus introduced fire to mankind (after he stole if from the God Hephaestus’s workshop), an act that enraged Zeus; Garabedian winks at this myth by depicting Prometheus’s right hand as a crackling torch.
Along with the paintings are also preliminary charcoal sketches that reveal Garabedian’s process behind these scenes. Drawn, erased, and redrawn, the studies foretell the lively movement that the final works will hold.